Um, dois, três, gravando: da desvalorização docente ao cinema como indústria cultural

Abstract

The central theme of this research is the articulation between the teaching profession and the cinema as one of the ideological instruments of the cultural industry. This articulation aims to answer the following question: How do the representations displayed in films that portray teachers performing their craft relate to the cosmos of the devaluation of teaching? In this sense, this work has the objective of analyzing films that portray teachers while exercising their craft to identify how the representations displayed induce the viewer to construct and disseminate predetermined images regarding teaching and to what extent these images dialogue with the devaluing cosmos of this profession. This research assumes relevance in the current Brazilian political-social conjuncture, where a process of social barbarism has caused an exacerbation of both the feeling of hatred towards the teacher and the taboos about teaching. In view of this, the adopted theoretical background is based mainly on the works written by Adorno on cultural industry, semi-formation, and cinema, also considering the works of other scholars of the Critical Theory of Society, such as Horkheimer, Benjamin, Türcke, Grushka, as well as some interpreters and followers in Brazil, such as Durão, Zuin, Matos, Costa, Duarte, and Rodrigues and Farias. The methodology used presents a qualitative approach and is outlined through theoretical research and self-reflexive analysis of the content of films that portray teachers while performing their profession. Thus, the discoveries made allow us to understand the feedback process between the cultural industry and pseudo-formation and how cinema, an artifact of this industry, contributes to the devaluation of the teaching profession as well as to the social reproduction of the taboos concerning teaching and teachers. Furthermore, they allow us to recognize the condition of pseudo-formed/semi-formed individuals in general. Thus, assuming this awareness is the mainspring for initiating any kind of resistance movement to the cultural industry and to the very condition of pseudo-formation installed in general society.