They often arouse the desire to see the entire film, and allow the immediate shock of an encounter with cinematic universes far removed from the students (author films, “old films”, Black and white, etc.). Well chosen extracts arouse instant emotion among students.
They allow us to focus on a particular issue. We believe in a ‘pedagogy of attention’ that makes students attentive to a fragment that they see, that they then describe. Comparing multiple stagings of the same situation invites a conversation between adults and students. Focus on a parameter (or a rule, or constraint) gives you also a key to watch film, directing attention (even films quite far from their own cinephilia). We become active spectators if we are searching for something precise.
They are as stimulating for experienced practitioners such as teachers, and for students as well. This confrontation of different aesthetic approaches is inspiring at the time of the transition to practice. They open new perspectives, different from common mainstream images. They do not function as models to reproduce, but their diversity invites students to situate themselves, to make their own choices. It allows them to dare, to allow them audacity.
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