Cinema negro na educação : as materialidades da imagem de autoafirmação no processo de descolonização em “a dialética do amor”

Abstract

This dissertation discusses an analysis of the film "The Dialectic of Love" (Prudente, 2012), related to a theoretical structure composed by researchers of the field of study of Social Sciences mainly in the perceptions of racial ethnic relations and psychoanalysis that are constituted in subjectivity considering The image, subject and body, primordial element of an epic didactic of teaching with view in the process of intellectual and psychological decolonization. The research in vogue also attributes to the relation of Black Cinema in Education in the perspective of Law 13.006 / 14, which establishes the obligation in the exhibition of films of national production in the schools of basic education as a curricular component, resulting from a process of changes that has been taking place In the educational field that tends to strengthen more and more media learning as a theoretical contribution in the school curriculum. The work proposes as a methodology the Discourse Analysis in the French line of qualitative and descriptive character. This modality of research arose in the 1960s in France; its applicability consists in the practice of explaining the materialities of a text, privileging the interdisciplinary that articulates the theoretical presuppositions of linguistics, historical materialism and psychoanalysis as an exploratory and interpretative tool. In the course of the work we sought to understand the formation of racial thought in Brazil based on the conceptions of eugenics and consequently the ideology of bleaching generating psychological sequels of great gravity the identity subjectivity of the Afro-Brazilian, which leads us to question how Cinema Black through the bias of Basic Education becomes the guiding thread for overcoming these racist ideologies in the process of decolonization? The phenomena found in the discursive processes point to psychological and behavioral ideological factors manifested in the multiple positions that the discourse occupies in the internal and external frontiers of human thought. Therefore, it was possible to understand the racial context through which the basic school is inserted, outlining the Black Cinema as a fundamental proposal in the process of decolonization as a means of conducting new learning that undertake confrontations capable of breaking with pathological structures, resorting the ontological identity of the AfroBrazilian to Social self-assertion. In this sense, the Black Cinema can be understood as a pedagogical and didactic conception that enables knowledge dynamics in which the dialectical interactions of the film film allow to reflect and promote reflections on contemporary social phenomena related to racial issues among others and to intervene on these events By the knowledge to which it is attributed.