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VERESS ELZA-EMŐKE: LEARNING EXPERIENCES IN HUNGARIAN MOVIES.

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Presentation on theme: "VERESS ELZA-EMŐKE: LEARNING EXPERIENCES IN HUNGARIAN MOVIES."— Presentation transcript:

1 VERESS ELZA-EMŐKE: LEARNING EXPERIENCES IN HUNGARIAN MOVIES

2 Selection I selected Hungarian films – fulfilled with strong cultural, social and political meanings, – films dealing with contradictions and comparisons that reveal the universal face of capitalism and modernity defined by learning experience, alienation, isolation and different ways of individualization;

3 Psycho-sociological approach In my psycho-sociological approach I wish to discuss the differences between modernity and tradition, countryside and urban society, old generation and new generation, outward and inward transformation of the characters strongly related to the different learning experiences inside or outside school.

4 Aesthetic approach As part of the aesthetic approach, on my way of discovering the ideology of the montage, of identifying objects that “narrate”, I also focus on objects in perpetual transformation that become symbols of knowledge management, learning experience or individualization.

5 The Little Valentino (Jeles András, 1979) alienation, lack of affection and true human relationship; there is no logical relation between the different episodes; dysfunctional socialization; aimless and unsympathetic protagonist; learning experiences are derived from something spontaneous, not organized, not planned;

6 Father (Szabó István, 1966) strong wish, wisdom of acting; the protagonist defines his personality through the relationship with his father; he has to build up his own character without imagination and enthusiasm; learning experiences that develop one’s personality; childhood is strongly bound to the national history, which defines the learning experiences; cartoonish montage of the Father as a Resistance hero

7 Time Stands Still (Gothár Péter, 1981) adolescent’s socialization; the teacher’s model of behavior; the shy or socially progressive adults; the protagonist is looking for his place in society; the main character’s father left after the revolution in 1956, so his fate is determined by the historical past;

8 Somewhere in Europe (Radványi Géza, 1947) war made by grown-ups; the vagrants formed a community to protect themselves from the adults; the conductor voluntarily becomes the adolescents’ teacher, because he feels responsible to protect the younger generation; his pro-social behavior is a model for social sensitivity and unconditioned help;

9 Current (Gaál István, 1963) dysfunctional knowledge: the problem of pressure difference is not taken seriously, consequence: death social learning: irresponsibly; Gabi’s death makes his friend to reconsider their relationship with the world and each other; learning experiences are derived from the tragedy of death;

10 Conclusions Learning experiences: – are indispensable for the characters; – their absence leads to stagnation in the process of individualization and ultimately shows the danger for the disintegration of the society. In the presented films learning experiences may be defined by: – historical past; – aimless wondering, – problems of adolescence, – crucial events: war, loss of someone, death.

11 Filmography Current (Gaál István, 1963) Father (Szabó István, 1966) The Little Valentino (1979, Jeles András) Somewhere in Europe (Radványi Géza, 1947) Time Stands Still (Gothár Péter, 1981)


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