By Daniel Serceau
Le système scolaire français est en crise : face à ce constat, l’ouvrage s’interroge sur le sens de cette crise et montre remark, depuis longtemps, l’institution a été pensée à travers les questions de los angeles perte des centres de pouvoir traditionnels, de l’autorité et l. a. démocratie, de l’échec scolaire, de l’idéal de l’excellence pour tous ou de l. a. query du mérite.
Parallèlement, le cinéma s’est emparé de ce débat et a régulièrement porté l’école à l’écran. l. a. construction filmique française montre quatre grandes catégories : l’autorité traditionnelle et répressive (Les four hundred coups), l’école et les imaginaires d’évasion (Zéro de conduite, Les disparus de Saint-Agil), l’école comme lieu d’acculturation (Être et avoir, L’école buissonnière), l’école comme lieu de crise ouverte (La journée de los angeles jupe…).
Cette dernière catégorie est largement traitée grâce à l’analyse détaillée du movie Entre les murs, de Laurent Cantet, qui pose les problèmes avec strength et dégage les réalités complexes d’une crise qui touche les savoirs dont certains ne font plus autorité, les enseignants remis en reason dans leur légitimité et enfin les élèves, dans leur refus de se plier à des règles indispensables à l’acquisition des savoirs et des savoir-faire.
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Additional resources for L'école en crise au cinéma
It is important to understand the problem from a number of perspectives, from the point of view of both those who make animated ﬁlms and those who seek to understand, enjoy, and analyze them. ” Further, to create narrative and thematic coherence in narratives such as Madagascar, and to embrace meaning “in-the-making” or the idea of the artist as “becoming animal,” as I mentioned earlier, it is necessary to view the animal in whatever way it may be deﬁned, as in a state of operational and symbolic ﬂux in virtually every narrative.
IN T RODUC T ION 19 undoing of the conventionally human” (quoted in Rothfels 2002, 80), and it is this central premise that I wish to apply to animators—and by extension, writers and directors like Cooper—creating the phenomena in animated ﬁlms that pertain to humans and animals but nevertheless “unthink” or “undo” conventional notions of either and both. This will be particularly addressed when looking at the ways practitioners facilitate their work through the use and deployment of animal imagery, and will take into account more of Deleuze and Guattari’s deﬁnitions of animal culture.
Strict animal behaviorists and cognitive psychologists eﬀectively share this view, allowing perhaps for a degree of cognition in animals, but refusing the notion of consciousness or complexity in communication. This can create a paralysis of inquiry, but following the lead of cognitive ethologist Donald Griﬃn, I wish to follow the view that “analysis of behavioral versatility can certainly lead to improved understanding of animal cognition. This cognitive approach to animal behavior can also serve as constructive compensation for the unfortunate tendency of many scientists to belittle nonhuman animals by underestimating the complexity and capabilities of the animals they study” (Griﬃn 1992, ix).