[This entry is an archive of the seminar "Audiovisual creation in childhood. Experiences and educational proposals» organized within the doctoral program in education by the Doctorate of the University of Seville and by the research team of the R+D+i MATILDA Project, which took place on April 29-30, 2020.]
Audiovisual creation in childhood. Experiences and educational proposals was a doctoral seminar organized by the Doctoral Program in Education of the University of Seville and the research team of the R+D+I Matilda project. It was given on April 29 and 30, by Professor Gabriela Augustowsky, from the National University of the Arts (Argentina), a specialist in audiovisual education and childhood, and has brought us closer to the look that children, between 4 and 12 years old, keep on audiovisual creations. This means an introduction to the analysis, understanding and enjoyment of children's gaze, seeking to identify their thematic and stylistic preferences, senses and situated meanings.
The seminar consisted of three parts:
"Girls and boys, from spectators to producers", focused on experimentation and poetics of children's creation, methodological strategies to approach children's audiovisual creations, the characterization of audiovisual pieces made by boys and girls: models, references and stereotypes; evolutionary features; narrative structures; genres and the explosion of verisimilitude; climates and sound textures; short times; humor and irony; the singular and the choral; and creation situated politically, socially and culturally.
"Film, audiovisual and education: theoretical perspectives", on audiovisual education as a field of knowledge. Addressing cinema as art, as language; literacy in audiovisual media; audiovisual creation for the democratization of knowledge; social inclusion and the expansion of rights; and creativity in audiovisual education.
And "Programs and projects of audiovisual creation" focused on film, experimentation and play. Animation cinema as a social bridge, cooperation experiences and community cinema; film festivals made by and for children and young people; the festival as a formative space; teachers for creative audiovisual teaching; and the exhibition of products and processes, evaluation.
Likewise, a referential theoretical framework has been built to enable a critical and reflexive understanding of contemporary audiovisual teaching theories and practices. Finally, it has been possible to enjoy the design of specific audiovisual creation proposals for different educational conditions and contexts.
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