Histórias e trajetórias de jovens de classes populares contadas por meio de um Cinema Nosso

Abstract

In the educational process, the lack of understanding about the expectations of young people in relation to life and the lack of knowledge about their habits and interests beyond the school can be seen with intensity. With this perception, we set out to formulate the proposition that supported this thesis, in dialogue with the life stories of young people who lived an unprecedented experience, participating in the Escola Audiovisual Cinema Nosso project, an institution that aims to expand these young people's access to consumption of cultural goods and film production. The audiovisual market (production, distribution and exhibition), restricted to the more favored classes, due to the necessary investments to make films and with limited exhibition due to the few spaces, becomes almost prohibited for young people from lower classes. Thus, most stories told on movie screens are not made through the eyes of those who are part of the popular field, even when they constitute the central theme of cinematographic productions. The eyes of those who tell the story are, in most cases, that of an outsider, who lives in another socioeconomic reality. Recalling the experience lived at Cinema Nosso, remotely, through interviews recorded on video, revealed how the project constituted a fruitful path to establish more democratic relationships with this audience. Pulling multiple threads involved in the relationship between the given word and listening, it was possible to reach the scenic understanding of individual and collective plots (singular and plural), trajectories and daily life evidenced through (auto)biographical narratives with the support of videos. The research showed, in the text and video with the final narratives of four young characters, that having been able to access cultural assets and cinematographic language significantly influenced the interviewees' life trajectories and future choices. These new choices were determined by the networks of relationships and tactics with which they reinvented life and created forms of resistance, subverting the order established by the dominant power. The thesis, presented in two formats — in audiovisual and written language — concludes that Cinema Nosso was an emancipatory experience that affected not only young people, but the community with whom they operate, as well as the relevance of expanding the field of political possibilities, ethical and aesthetic through the democratization of places of speech, legitimizing the authorship of subjects with other languages.