CINEMA IN THE DOCK: AN ESSAY ON THE BNCC'S DISREGARD FOR CINEMATOGRAPHIC ART

Abstract

With the aim of analyzing the treatment given to cinema by the Brazilian National Common Curriculum Base (BNCC), this study explores how the document (does not) address the art of filmmaking. Through documentary and bibliographic research, we seek to problematize the reasons why the BNCC does not even mention cinema as an art worthy of being included in the classroom, much less as a formative tool. Moreover, in an attempt to justify a supposed protagonism of literature, the document even promotes a rivalry between the various arts, including cinema, further marginalizing these other arts (other than literature), since it relegates them to the condition of "substitute artistic genres" and blames these genres for the failure of literary art in schools. On the other hand, in contrast to the equal treatment of the arts, the use of cinema in the classroom, according to the BNCC, implies at least two circumstances: either the literary text takes center stage and achieves positive results; Or its “substitutes,” whose potential has been ignored, reach the podium and annihilate the chances of success of the opponent (literature). Thus, except when it considers it one of the alternatives threatening literary protagonism, the BNCC (Brazilian National Curriculum Base) treats cinema only tentatively, neglecting the role of this art as a formative possibility, making it nothing more than a mere “subordinate of this non-place,” as highlighted by Sousa (2017). In this context, the BNCC significantly limits the mobilizing potential of cinema in the educational field, reducing both its unequivocal formative possibilities, as discussed by Almeida (2014), and the possibilities of improving critical thinking and expanding the chances of greater aesthetic enjoyment and pleasure.