PT Journal
AU Cesalkova, L
TI Pohyblivy obraz a socialisticky zak. Vyzkumy filmove recepce v pedagogickem dispozitivu v 50. a 60. letech
SO Iluminace
PY 2018
BP 45
EP 62
VL 30
IS 1
DI 10.58193/ilu.1551
WP https://iluminace.cz/artkey/ilu-201801-0003.php
DE filmova recepce; detsky divak; pedagogicky dispozitiv; skolni film; statni socialismus
SN 0862397X
AB Zadnemu jinemu vyucovacimu nastroji nebyla venovana takova metodicka pozornost ucitelu jako filmu a zkoumani recepce filmu zaky by melo ucitelum pomoci definovat konkretni strategie pro jeho zacleneni do vyuky. Navzdory autoritativnim podminkam tradicne vytvarenym skolskymi institucemi se ucitele obavali nestalosti vyznamu pohybliveho obrazu. Tyto obavy v 50. a 60. letech 20. stoleti vytvorily radu vyzkumu detske filmove recepce v ramci pedagogickeho dispozitivu. Predkladana studie analyzuje, jak skolska instituce reagovala na politicke zadani v podminkach statniho socialismu a v dusledku toho modulovala dominantni zpusoby zakovske filmove recepce. Ukazuje, ze pedagogove vyvinuli dve strategie ukotveni vyznamu pohybliveho obrazu, povazovaneho za nestabilni. Ani jedna z nich nepredpokladala, ze by film mohl v pedagogickem dispozitivu pusobit samostatne. The first one, typical for the 1950s, was motivated by the ideological priorities of socialist education and aimed at framing the film with a number of didactic practices (preparatory reading for homework, introduction, discussion, follow-up tasks) and incorporating it into a system of other teaching aids. The screening was highlighted as a special event and the film experience should spread to the wider context of teaching. Within the second tendency, typical of the 1960s, on the contrary, the specificity of film screening as an event wiped out, film's mediality should be eliminated, and teachers aimed at endeavoring the film as a partial sequence, a "loop", a fragment, to the stream of teaching in which the teacher plays a key role. The pupils' reception in this regard points to two distinctive strategies, through which the pedagogical discourse copes with the problematic medium of the film - on the one hand, spreading the pedagogical into the public in the period of emphasis on the ideological interpretation of the film, on the other, the embedding of the film into the pedagogical in the period emphasizing the information potential of the film in the classroom.
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