Fluminense Federal University

Special Secretariat for Human Rights

of the Ministry of Justice

the INVENTING
with DIFFERENCE
NOTEBOOK
cinem a, education, and hu man rights

Cezar Migliorin
Isaac Pipano
Luiz Garcia
India Mara Martins
Alexandre Guerreiro
Clarissa Nanchery
Frederico Benevides
Douglas Resende

translated by
Eduardo Castro
Jonathan Fleck

illustrated by
Fabiana Egrejas

Niterói
2019
We dedicate The Inventing with Difference Notebook to Marielle Franco,
Rio de Janeiro city councilwoman and human rights activist
who was assassinated in her own city.
 24 34 40
Far Away, Up Close The Stories of Objects Subjective Camera

52 30 46
Sounds Masks and Monstrosities Film the Snow

44 42
Haiku Film In-Camera Editing

28 22
16
Frames Lumière Minute
The Image: Seeing and Inventing

48 38
8
Empty Spaces Colors and Textures
How to use

6
60 77
Inventing with Difference
Letter-Film References

32 56 26
Other-Portrait Mirrors Trail of the Senses Narrated Photos

64
Pedagogy of the dispositif: clues to create with images

20
50
Lumière Minute - Preparation
54 A Walk Around the Block
Music and Memory

18
Seeing and Inventing: How Do We See? What Do We See? What Do We not See?
inventing with difference

Films provide a unique, intense experience, an

experience that is the very creation of the world
we inhabit. By making this material available,
we hope to share knowledge and practices with
anyone interested in bringing cinema and human
rights to the classroom, even for students with no
prior experience in film language or technique.

As we developed this Notebook, we put into practice

several years of human rights activism and research

in film and education. Our previous experiences proved

crucial to the conception of the “Inventing with Difference

- Cinema, Education, and Human Rights” project which, in

2014, successfully established a network

of students and educators in all 26

Brazilian states and the Federal District.

6
 As we learned in the project that year, it is not up
to us to define how a pedagogical action should be
implemented. Our role is to collaborate in the creation
of methodologies and processes that can reach
educators who are autonomous enough to define their
own practices and establish their own production
dynamics in the field of education. Working with cinema
in schools, we learned that practices are always
transformative and creative, because the world being
filmed is constantly changing. Anyone who films the
world must create a new point of view for the camera, a new cut, or an overlap of
two sounds that have never been put together before. In filmmaking, as in education,
principles never precede practices: they are created simultaneously.

As they make films and as they cope with their surroundings, with otherness and with
difference, adults and children work and invent together. It is during that process that
we discover the power of creating a point of view of the world or a place to hear what
we have never before taken the time to hear.

With this Notebook, we envision the possibility of working collaboratively, without

competition, mindfully, open to difference and to the ways of life that make up
our communities. In short, we focus on film and education methodologies that
encourage the right to difference, strengthening that which holds us together:

the possibility of creating collectively.

All of these processes generate videos, films, experiences,

and thoughts in the form of images and sounds. Ways to

construct what we are and to discover and create with the

other.

7
 To teach is not to transfer knowledge
but to create the possibilities for the production or construction of knowledge.
Paulo Freire, Pedagogy of Freedom

how t o use

The material presented here represents a proposal for conducting

workshops in your school. Rather than a series of guidelines, these activities
serve as suggestions for basic education in cinema and human rights.
Therefore, it is up to each educator whether to adopt this material fully, on a
class-to-class basis, or by refashioning and assimilating it.

We planned each exercise to correspond to one workshop session, whether

it lasts fifty minutes or two hours. The exact duration of each exercise may
vary depending on the time available, the number of students, the dynamics
and structure of the activity, and so forth. It will be up to the educator to
define, in collaboration with his or her students, the best way to adapt the
material and to put each dispositif1 into practice.

1. There is no straightforward English

translation for dispositivo. We have
considered the terms apparatus and
device, but none of them seemed to mean
precisely what dispositivo does within
art and cinema and philosophy. Since
it’s a concept that comes from Foucault
and then Deleuze’s thought and also
considering the historical transit between
French and English, we have decided to
keep the term as it originally appears in
its language – dispositif.

8
 Dispositifs are exercises, games, film challenges, rules
to help students tackle the basic
aspects of filmmaking while, at the same time, expressing
themselves, creating, discovering
their school and their neighborhood, telling their storie
s. Dispositifs come in two types:
those that require film and sound recording equipment
, and those that do not.

Alon g with thes e work shop s, we woul d like to

shar e som e of the guid ing
prin ciple s of our meth odol ogy. First of all , imag
es are alwa ys our star ting-
poin t . It is the imag e that lead s us to issu es
of hum an righ ts and allow s
for an intim ate expe rienc e of the worl d. Thro
ugh imag es, we com e to
unde rsta nd that an impo rtan t part of educ ation
is learn ing to appr ecia te
how certa in grou p expe rienc es reve al form s
of enga gem ent and a
reth inkin g of the relat ions hip betw een stud ent
, scho ol , and com mun ity. It
is thro ugh imag es that hum an righ ts beco me
a part of the com mun ity and
a part of how we see and inve nt worl ds we neve
r thou ght poss ible.

9
 1. Emancipation scene
Begin to take action within the community
through an inventive and creative
relationship with everyday life, through
the introduction to new narratives and
artistic references. Go beyond the familiar
meanings of objects, symbols, and signs.

2. Discovering territory
Experience the community with
curiosity and openness, as a place of
experimentation and growth. Reflect upon
stories, traditions, values, inhabitants. Pay
attention to everyday spaces, details, and
subjects, exploring everyday life with new
perspectives and discovering new places.

3. Engaging with knowledge

Participation, active presence in the
process of production and knowledge:
4. Restlessness and rebelliousness
research, question, converse in order
Dissatisfaction with the rigid borders
to explore new perspectives. Students
that govern life and with the possibilities
should feel responsible for and
allowed or silenced within a community.
committed to what they are learning and
Desire to disturb the order of what is
producing, and to the consequences of
possible to see, say, and feel, destabilizing
their work for themselves and for others.
and transforming how objects, symbols,
and subjectivities exist and are perceived
and represented within a community.
Art as a way to articulate one’s own
lack of freedom, and to liberate new
functions, discourses, understandings, and
possibilities.

10
 5. Spark of equality
Conceive of the space of learning as a place where
anyone, wherever they are from, can contribute to the
process of production and knowledge. Experience the
process of creation as a site of exchange between
different kinds of knowledge that, as they come into
contact with one another, multiply creative powers and
produce new worlds. Break free from traditional roles to
facilitate this exchange.

6. Discovering a creative power

Resist the urge to follow a predetermined
script. Create openings to let the world into the
creative process, with all of its forces and forms,
improvised and undefined, surprising the artist
with all that may appear and be created in these
encounters. Experiment with the possibilities of
invention awoken by unforeseen combinations.

7. Openness to difference in a subjective process

Visualize, approach, and experience different perspectives,
visions of the world and ways of life, recognizing the value
that engaging with the other and their perception brings
to the processes of understanding and producing. Let your
contact with difference destabilize your own convictions
and perceptions, and experience the possibilities of
reflection gained by working with artthought.

We hope this Notebooks may give rise to unthinkable applications.

11
The s pe c t ado r is the person who witnesses the creation an image’s meaning
and is delighted with all of the other meanings created unintentionally.
 world.
The eye sees, the memory re-sees, and the imagination sees through the
We need to see through the world.
Manoel de Barros

the i ma g e : seeing and inventing

We are always surrounded by images, and this excess often blinds us: the more images we
see in the world, the less we perceive their micro-compositions – and the more they start to
blend together. As a way to denaturalize how we receive these images, this activity seeks to
bring students closer to formal elements, decomposing images into lights, lines, and shapes,
highlighting the creative choices behind all acts of representation.

A photograph is the product of decisions and choices: these characteristics, inherent in every

creative act, ought to become clear to us as we read the images.

Draw upon a bank of images selected by students and teachers (newspapers, magazines,
books, web sites), and seek to analyze the images
according to their formal features:

What do we see? How does this image want to be seen?

• light and shadow • color • texture • perspective •

• depth • lines and curves • subject and background •
• design scale • in frame and out of frame • point of view •

16
how?

proposal 1

Over the course of one week, students

select and photograph people and spaces
in the community, paying attention to the
composition features they have analyzed.
The photos will be exhibited in the
subsequent class meeting.
• Use a camera or smartphone;
• Each student takes two pictures.

proposal 2

Cut out pieces of paper to frame

everyday images, paying attention to the
composition features they have analyzed.
Take the photo with the paper frame in
visible in the shot.
• Use a camera or smartphone;
• Each student takes two pictures.

17
Taking a photograph always forces us to think about
how to see any given scene: what we can see within
the frame and what is left out. Our eye, like the lens of
seeing
a camera, performs this function, framing the world
and generating an image that lets us perceive the
and
shapes and colors of people and objects. When we look inventing:
at a photograph, we can ask ourselves, among many
other questions, the following:

Why do we choose these ways of seeing people,

streets, our school, our community? Why use this

framing? Why this color? Why this perspective? Why

this height? Why put the human figure in the center

of the shot, instead of off to the side? What and whom

was left out of the frame in these images?

Focusing on the photographs produced

by the students, the goal of this meeting
is to raise a series of questions about
images and about the choices behind
their creation. The exercise is also
meant to reveal the subjects that inhabit
the students’ imaginaries, as well as the
subjects that, for whatever reason, were
not photographed.

18
 Images show us that we are always missing an image.
Jean-Louis Comolli

how do we see ? what do we see? what do we not see ?

practical proposal

Write down any people and scenes that were not

represented, to return to them in future activities.

• What was left out of the frame?

• What do we know is there, but choose not to
photograph?
• What else would you have liked to show?
• What is something that is part of the community,
but that is hard to talk about or even mention?

19
 lumière minute - preparation
shot: everything that happens from the moment we turn on the camera

In 1895, the Lumière brothers

invented the cinematograph, a
device that can to record a series
of snapshots (frames) that, when
projected, created the illusion of
movement. Without moving the
We call this exercise “Lumière
cinematograph, images were
shot on roll of film about 17 Minute,” as an homage to those
meters long, recording a duration
images: record a one-minute shot,
of approximately 50 seconds.

using the same technique that led

to the first films in the history of

cinema.

20
 how?

practical suggestions

The structure of the

“Lumière Minute” exercise
is rather simple, but it
to the moment we turn it off.
prepares students for
several of the challenges
posed by the language
of film. Even without a
camera, it is possible to
develop an activity with
these principles in mind.

perception exercise (without the camera)

• Divide the class into pairs.

• In each pair, one student keeps their eyes closed while
their partner guides them around the school and the
surrounding area for about three minutes.
• At the end of the walk, the guide positions their partner
as if he or she were a camera, composing a shot and
“photographing” the space in front of them by having the
guided student open their eyes for approximately five
seconds before closing them again.
The images “produced” during the exercise are brought
to the group for discussion, or can be drawn by the
students.

21
 lumière minute

Almost everything you need to consider cinema can be found in the Lumière brothers’ early films,
not because they were first, but because they are so simple, lasting just 57 seconds. Almost
everything? The bodies, of course, their relationship to the machine that films them, the masking role of
the frame, what is in-bounds and out-of-bounds, in-frame and out-of-frame, the articulation of speeds,
the measuring of time and recording, the inscription and erasure.
Jean-Louis Comolli

how? According to Bergala (2008), producing a

“Lumière Minute” requires three fundamental acts:

• choice – what to film? People, gestures, sounds, colors,

lights?
• placement – the positioning of things in relation to one
other: where do I put my camera to capture the elements
that I have chosen to film? How do I place these elements in
front of the camera to make them more meaningful? What
do I include in the frame, and what do I leave out?
• action – putting into action, determining the exact
moment to begin the one-minute shot. What is the right
moment to press “record”?

22
practical suggestions

1. Every student produce a “Lumière Minute”;

2. The camera is attached to the tripod;

3. Do not record sound;

4. All of the “Lumière Minutes” produced by students are watched in the classroom.

To film a shot is to dive into the heart of

the cinematographic act, to discover that
the entirety of cinema’s power resides in
the raw act of capturing one minute of the
world; it is to understand, above all, that
the world always surprises us, never quite
meets our expectations or predictions, that
the world often has more imagination than
the one who films it [...]. The seemingly
miniscule act of filming a shot requires not
only the wonderful humility of the Lumière
brothers, but also the reverence of a child
or adolescent doing something for the
first time, taken seriously, as a decisive
foundational experience.
Alain Bergala

23
 w h a t ? Approach and film a stranger with shots of different
sizes. Hand the camera to the stranger so they can also film close
up, far away, and very close up.

far away , close up

why?

• turn filmmaking into a way to meet and get to know new people;
• be attuned to movements, gestures, and ways of seeing;
• consider the challenges posed by the presence of the camera in
interactions with others.

24
h o w ? • around the area of
school, approach someone with
whom you have never spoken;
• after talking to the person and
confirming their participation in the
dispositif, film three different shots
of them;
• for each shot, think about the
relationship between the person
and their surroundings.

1. far away;

2. closer;

3. very close r.

note: during the last shot, without

stopping the shoot, hand the
camera to the person who was
being filmed so that they can make
their own images, revealing their
own point of view.

25
 narrated
photos

w h a t ? Film someone narrating a photo.

why? discover the story of a neighbor, a

relative, a school staff member. Create a memory
inventory of the community being portrayed,
paying attention to the stories people tell about
themselves, to the tension between word and
image, and to the importance of oral memory in
the constitution of a community.

26
 how?

1. ask an adult to display a printed photo and talk about it in

front of the camera. It’s important for the adult to be older
than the students;
2. film this moment with a handheld camera, paying special
attention to gestures, to the surroundings, and to the photo
itself. Use a variety of shot sizes and frames;
3. the story should last five minutes, and may be rehearsed
before filming;
4. pay attention to sound! Shoot in quiet places, since what
the person says is essential.

When the night is darkest, we can perceive the faintest glimmer, and even expiration of light
becomes more visible in its trace, however tenuous.
No, the fireflies disappeared in the blinding glare of the ferocious spotlights:
spotlights from watchtowers, from political talk shows, from football stadiums, from
television screens.
Georges Didi-Huberman, Survival of the Fireflies

27
w h a t ? Film through a framing object – a door, a window, a hole.

frames

What defines a movie spectator is that he or

she does not have access to all that is visible.
Jean-Louis Comolli

why? The goal of this dispositif is to put students in a situation

where they can determine what to include in the image and what to
leave out of the frame.

It involves practicing framing, since our gaze and our ways of seeing

are always partial, localized snippets of the world. Even so, what we

do not see still exists, and is worthy of our attention. Selecting what

to leave out is a way to form a relationship with mystery, with the

unknown, to what is strange, different, and foreign.

28
how?

1. Visit the home of neighbors or relatives.

2. For up to two minutes, film the person who

lives there through doors, windows, or paper
frames, as they answer the question:

“What do you see from here?”

3. Film the shot (the image of what the person

sees) and the reverse shot (the image of the
person speaking), paying attention to the
frame created by and with the object.

29
 masks and monstrosities

w h a t ? film through masks..

why? Our eyes are lenses that determine

how we see the world. The things we see,
therefore, exist through a relationship to our eyes
– for instance, the color red may look different to
different people. When I adopt a way of seeing, I
also adopt a perspective.

30
 Keep your eye on the eye of the jaguar.
Become a jaguar.
Caetano Veloso

how ?

1. find or create filters that can be placed over a camera lens to alter the
image. Colored pieces of paper, wax paper, tracing sheets, bits of fabric,
prescription lenses, sunglass lenses, etc.;
2. using these masks, film situations, scenes, people, and objects;
3. repeat the shots with new filters to create different perspectives and
monstrosities.

31
We have the right to be equal when our difference
makes us inferior;
and we have the right to be different when our equality
may mischaracterize us.
Hence the need for an equality that acknowledges
differences
and a difference that does not produce, promote, or
reproduce inequalities.
Boaventura de Sousa Santos

w h a t ? Film through mirrors.

Play with reflections, fragments, and
narratives about yourself and others
.

other-portraits mirrors

why?

A community is made up of the proximities and the distances

between individuals, beliefs, ways of life. The dispositif aims to use

the mirror as a plaything, to reflect upon on distance between the

filmer and the one being filmed.

32
h o w ? Write a text that will take up to
two minutes to read aloud, considering “my
relationship with what is furthest from me”.
It can be a physical, symbolic, cultural, or
socioeconomic distance.

1. Divide the class into three groups: filmers,

writers, and readers;
2. With the text in one hand an a mirror in
the other, the filmer shoots the reader’s
reflection in the mirror. It is important for
the writer and the reader to be two different
students.

33
 the s t o r ie s of ob j ect s

w h a t ? Film an elderly person

and their emotional relationship
with an object.

why? Valorize memory and oral history; compose and

capture images that address times gone by and other ways of

relating to the world, especially traditions and habits that have been

transformed by the reshaping of cities and daily habits.

Foster attention to communal narratives.

34
It is from the present that comes the appeal to which memory responds.
Henri Bergson, Matter and Memory.

.
how?

1. Find an elderly person from the community

who can tell the story behind a family heirloom
or another object that is meaningful to them in
some way;

2. First, use the camera to record only the

narration (the audio). The narration should last
between one and three minutes;

3. Separately, film the object and create images

that relate to the narration, exploring different
shot durations and framings;

4. Edit the images so that the objects appear in

sequence with the narration.

35
 My hair was the shell of my ideas,
the wrapper of my dreams,
colors
the frame of my most colorful thoughts.
It was my kinky hair that made me realize and
a whole set of attitudes
that revealed society’s need
to make me fit
into standards of beauty,
thought, and life choices.
Cristiane Sobral

w h a t ? Create an inventory of the colors and textures of

people in the community and the neighborhood, working
through the challenges posed by photography and light.
Edit the images and add sounds created by the students.

textures

38
w h y ? Raise awareness of the variety of skin tones and body
marks of the people in the community, brining students closer to the
diversity around them. Parts of the body and their unique details –
moles, wrinkles, scars – create a mosaic of multiplicity that reflects
our ethnic miscegenation and all the marks left by time.
Over a soundtrack that the students create from everyday objects,
we transform images and the sensitivities they awaken.

how?

1. Each student or group films at least four shots that

focus on different tones and textures of the body (skin,
feet, hair, etc.). Do not hurry, look, and look again;

2. Give preference to closed shots, closeups, and details,

turning the camera into a microscope;

3. Edit the shots into a sequence;

4. Exhibit the shots and create a soundtrack with the

students. Explore variations of silence and noise,
low pitches and high pitches, etc.

39
 subjective camera

I am only concerned with what is not mine.

Law of Man. Law of the cannibal.
Oswald de Andrade, Cannibalist Manifesto.

w h a t ? Film a person at work

through their point of view.

w h y ? When we create subjective images, we not only look through someone else’s

eyes, but we also enter their world and multiply the ways we see our own world, which

is a fundamental aspect of human rights. Subjective shots put students in situations

they have never before experienced, fostering respect and an appreciation for the work

performed by people they see every day.

40
how?

1. Film a fixed shot of up

to one minute of a person
at work (a cafeteria, an
office, a law firm, a lunch
room, a government
building, a grocery store,
a street vendor’s stall,
etc.);

2. Put yourself in the

worker’s place and film
from their point of view;

3. Edit together several

students’ shots and insert
captions with the name
and profession of the
participating workers.
.

41
 what? Shoot an everyday scene for in-camera editing.

in-camera editing

w h y ? Experiment with editing in filmmaking: when you

edit two shots together, a new meaning takes shape and other
meanings evaporate. Consider the composition of these shots:
the cut, the continuity, and the discontinuity. Pay attention to the
rhythm of people’s daily lives. What do people do?

42
 It is a mistake
to think that
the eye judges
and the hand
executes.
Gilles Deleuze

how ?

1. Divide the class into groups of up to five people;

2. Each group films up to five shots, composing a scene of people working,

playing games or sports, etc.;

3. The editing is done in the camera itself: in other words, the shots are
filmed in the exact same order they will be shown;

4. Each shot is filmed in a single take; therefore, students will need to plan
the exact moment to turn on the camera and to turn it off, to make the cuts
effective;

5. End the exercise when the shots are put together.

43
 living is very hard.
The deepest
is always in the surface.
Paulo Leminski

filme-haikai
a cicada shell;
it sang itself
utterly away.
Matsuo Bashô

w h a t ? Make a film in the form of a haiku.

w h y ? The haiku is a short poem, originally from Japan, that contains 17 syllables. It
was introduced into film by Russian filmmaker Sergei Eisenstein (1898-1948). Eisenstein
appropriates this literary form to reflect upon the concision of film and its ability to convey
concepts and ideas through a high “emotional quality”. According to Yone Noguchi, “it is
the readers who turn the imperfection of the haiku into artistic perfection”. The haiku
employs montage-like techniques in an objective and succinct way. In the traditional
haiku, the central themes are nature, animate beings, and inanimate beings. When they
experience haiku in film, students are invited to observe how life happens beyond humans.
This exercise encourages students to learn creatively about art history, as well as to keep
reading.

44
how?

1. Research the haiku form in groups or

individually, discovering different poets
and learning how the poem’s structure can
inspire different ways of creating;

2. Select or write a haiku;

3. Produce three shots - preferably fixed

shots - one for each line of the haiku. The
shots should not have sound, and should be
sequenced in order. The shots do not need to
illustrate the haiku, but they should explore
sensations sensations evoked by the poem;

4. Insert a caption with the title of the poem

after the last shot.

note: this exercise can also be carried out

using photographs.

(adapted from a proposal suggested by

the Italian filmmaker Claudio Pazienza).

45
 film the snow

w h a t ? Make a single-shot, non-narrative film without looking through the camera.

w h y ? The history of cinema is full of works in which the frames are

not determined by the director’s eye, but rather by machines, toys, or
different means of transportation. “Filming the Snow” refers to one of the
filmmakers who explored these possibilities to their fullest, the Canadian
artist Michael Snow, born in 1929 and still active today. Here, students
are invited to experiment with objects as ways of “seeing” the world,
without relying on an individual gaze or on the
human eye.

46
 how?

1. Divide the class into groups;

2. Attach the camera to an object: wheel, rope, elevator,

skateboard, escalator, tray, wheelbarrow, baby stroller,
bicycle, etc. (Try to keep the equipment intact);

3. Shoot one or several non-narrative shots of any duration

and explore different movements, intensities, and variations;

4. Experiment and have fun.

Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by

compositional logic, an eye which does not respond to the name of everything but which
must know each object encountered in life through an adventure of perception.
Stan Brakhage, Methaphors on Vision.

47
The mother noticed that the boy enjoyed the empty more than the full.
He said that the empty is wider and even endless.
Manoel de Barros

empty spaces
48
 what? Photograph the insides of homes
with no people in the frame.

w h y ? A person’s home may say

more about them than what they say
about themselves. The aim here is
to document the different ways that
people construct their intimate family
spaces by observing how beliefs, habits,
and values are expressed through
objects and their placement inside the
home. Learn about the many ways of
life around us, and about how other
people organize gathering spaces.

how?

1. Choose up to five people who are willing to open their homes for this activity;
2. Each student takes one photograph inside one of the homes;
3. View all the pictures taken. While discussing the photos, encourage students to infer
possible narratives about the home, its story, and the ways of life it holds;
4. Create a fictional narrative for each home.

49
 w h a t ? Film a walk around the
school block.

why? Capture images of the

school’s surroundings, beyond
what we see every day. The aim
of this exercise is to heighten
how we see our space, and to
rediscover it through the people
who walk around it.

a walk around

50
 how?

1. Each student takes at least four pictures

that show the school block. The rule of the
game is to not leave the block;

2. View all pictures taken. The discussion of

the photos can highlight the many ways we
can see our environment and the diversity
around us;

3. Edit the film.

Look; the most important and nicest thing in the world is this:
the block that people aren’t always the same, they are not all of a piece
and finished but keep on changing.
Guimarães Rosa, The Devil to Pay in the Backlands

51
 w h a t ? Research the different sounds in the community.

w h y ? Like the images that surround us,

sounds also make up landscapes, some more

aggressive, others more delicate. The idea is

to represent the neighborhood through the

sounds it produces, such as street noise, the

sounds of animals and of nature, music, etc.

The exercise is meant to enhance auditory

perception of the different sounds that make

up the world in which we live. It is also an

opportunity to explore the construction of

sound in film, which is quite different from how

sound works in real life.

sounds

52
how?

1. All that matters is the sound;

2. Using the camera’s audio recorder or a smartphone sound

recording app, each student records one or two sounds that
represent the community. Don’t record images;

3. Students listen to their classmates’ recordings, and try to

identify the sounds. Where are the sounds coming from? Based
on what we hear, what would we change in the city?

When a sound can replace an image, cut the image or neutralize it.
The ear goes more towards the within, the eye towards the outer..
Robert Bresson, Notes on Cinematography.

53
 A child in the dark, gripped with fear, comforts himself by singing under
his breath. He walks and halts to his song. Lost, he takes shelter, or orients
himself with his little song as best he can. The song is like a rough sketch of a
calming and stabilizing, calm and stable, center in the heart of chaos.
Gilles Deleuze and Félix Guattari, A Thousand Plateaus.

music and memory

w h a t ? Research songs popular

with different generations.

w h y ? Showcase the culture and musical

identity of the school surroundings, and consider
the relation between music, memory, and
territory.

54
how?

1. In groups, students approach three people from different generations: a

child, an adult, and an elderly person;

2. Ask each person to sing the snippet of a song they often remember, and
record it with a smartphone;

3. Search for the lyrics of the songs and create a map out of the words,
characters, and recurring places featured in the lyrics.

55
 w h a t ? Create an installation that engages all five senses.

trail of the senses

why? When we go beyond filmic space,

we can expand the perspectives of cinema
itself. Therefore, this dispositif aims to draw
attention to the body and to each of the senses;
to experience sensations that are not tied a
function or to fulfilling a daily need; to free our
touch, taste, smell, sight, and hearing, offering
new experiments with space and time.

56
 recursos

• sand mat • sandpaper • fluffy mat •

• gravel / crushed stones • corn • petals • shreds of plastic •
• gelatin • wood boards • double-sided tape • newspaper •
• ambient sounds • incense • coffee powder •
• eggshells and other materials •

Education is the point at which we decide whether we love the world

enough to assume responsibility for it.
Hannah Arendt, The Crisis of Education.

how?

1. In a dark, scented room, provide a variety of materials for the students to feel as
they touch, smell, taste, hear, or step on them;

2. Blindfolded and guided by the teacher or by their classmates, students walk

along trail made of gravel mats, sand mats, and sandpaper, while at the same
time touching grains, petals, newspapers, or different kinds of plastic, and tasting
substances with different flavors;

3. As they walk along the trail, which can be of different shapes and sizes, students
come into contact with a wide variety of “things” that they experience every day,
but which usually go unnoticed;

4. Ask students to talk about their experience and to describe the sensations they
felt on the trail.

57
When you start thinking in images, without words, you’re well on the way.
William S. Burroughs, Burroughs Live.
 letter-film Making a film: the challenge
that moves anyone who ever thought of turning on a camera
and connecting to cinema.

That is the goal of this exercise.

To make a film for someone: a film about our lives, the ways
we see the world, what is around us, our area, the things
that affect us – whether they be good or bad –, what we wish
for in the world, what we have seen and want to share, our
stories and inventions.

The letter-film encourages a type of meeting between the

students in the project, focusing their attention on how they
relate to the community in which they live. At the same
time, the exercise requires them to communicate with other
people through images, by creating a viewer.

The letter-film is an act of creating a world, an act that

needs an addressee, as well as an exercise in self-
perception. If every letter creates a subject as it is written,
then every letter-film creates a subject that travels between
the writer and the addressee.

The letter-film is a complex exercise that allows freedom

of creation as it tackles several cinematic challenges:
storytelling, montage, pace, acting, composition, observation.
It further enables students to hold a mirror up to themselves
and to their communities through affective, creative, and
critical involvement with the world around them.

60
 Today’s filmmakers prefer not to adventure on these dangerous paths.
It is only masters, fools, or children who dare push these forbidden buttons.
Jean Rouch, Ciné-Ethnography.

preparing and producing the letter-film

1. Choose an addressee for the letter –a person, city, animal, object, place, etc.;

2. With the class, watch the materials (dispositifs) produced in previous meetings.

3. Divide the class into groups;

4. Select, organize, and create with the materials available and/or capture new
images, voices, and sounds that relate to the letter-film;

5. Complete the film and send it to the addressee.

61
A fil m does not c o nvey an experi en ce,

it m u st be the experi e nce it s elf .

the pedagogy of the dispositif : suggestions for creating
with images – from the film-dispositif to
the dispositif as a political-methodological operation.

In 2002, the filmmaker and visual artist Cao Guimarães produced the documentary
Two-Way Street. With clear spatial and temporal cuts, the director created a set of little
rules to let the film take shape.

People who didn’t know each other traded houses at the same time for 24 hours. Each
person brought a camcorder and had total freedom to film whatever they pleased in the
stranger’s home over this period. Each participant tried to elaborate a “mental image” of the
“other” by coexisting with their personal objects and domestic universe. At the end of the
experience, each person gave a personal report on how they imagined this “other”.1

That is how the film was created, with no theme, pre-constructed text, or script. In the
foundational gesture of the film, the filmmaker records nothing, he simply receives
the images produced by the mechanism he has devised – a filmic apparatus, his own
dispositif. Using a split-screen, the film had some of the hallmarks of the so-called
dispositif-film: the random opening, the decentering of the director, the invention of a set
of limits instead of a theme, a strong spatial and temporal focus.

During this period, several other films also made use of dispositifs2, among them
Eduardo Coutinho’s Edifício Master (2002). After watching the film crew entering the
building through a security camera, the audience hears Coutinho’s voice-over as the
images show the corridors of the building: “A building at Copacabana, one block from
the beach, 276 studio apartments, some 500 residents, 12 floors, 23 apartments per
floor. We rented an apartment in the building for a month. With three different crews,
we filmed life in the building for a week”. And so the dispositif came to be. Consuelo Lins
summed up Coutinho’s practice during the time: “Dispositif is a term Coutinho began
to use to refer to his filming methods. At other times he called it a prison” (Lins 2004,
101). According to Coutinho, “What really interests me is the dispositif, which can also
be called method. I have gradually discovered that the most essential dispositif for me is
the spatial prison. It is about the metonymy. I do not want to talk about a specific country,
or religion; I decline general ideas. I have learned that spatial prison is fundamental
to me.” (quoted in Lins 2004, 101). Consuelo Lins adds, “Filming ten years, filming only
people from behind, it may be a bad dispositif, but that is what matters in a documentary
[…]. These are fragile forms that do not ensure the existence of a film or its quality, but it
is the only possible start for the filmmaker.” (ibid., 101-102).

64
Our aim here is not to address the history of the notion of dispositif or the arts that
employed methods of restriction, games, process cuts, or formal tricks. If such a
genealogy were the objective, then we would need to address American structural
cinema and filmmakers like Hollis Frampton and Michael Snow, visual artists like
Rosangela Rennó and Sophie Calle, and writers like George Perec or the Oulipo Group.

Dispositif is a notion that cuts across all aspects of a work’s production. In other
words, in certain works we cannot consider editing, photography, script, or actors’
performances to be separate elements from the dispositif used. It is a choice that
establishes restrictions before any image is captured. This choice will model all
alternatives from that point on.

In dialogue with the artists mentioned above and informed by the work of philosopher
Gilles Deleuze, we arrived at a definition of dispositif in a 2005 article. The definition will
prove crucial for later works and for employing the concept in education, especially as
it relates to Alain Bergala’s research. According to that article,

dispositif is the introduction of activating guidelines into a chosen universe. The creator
isolates a space, a time period, a type and/or a number of agents and, to this universe,
adds a layer that will push movements and connections between the agents (characters,
technicians, weather, technical devices, geography, etc.) and their surroundings. The
dispositif presupposes two complementary dimensions: at one end, extreme control, rules,
and limits; at the other end, absolute openness dependent on the agents’ actions and
connections. (Migliorin 2005, 83).

Remarking on Fernand Deligny’s work, which dates back many years, Bertrand
Ogilvie offers a new way of defining the dispositif as a “discursive material agency, the
organization of space based on a system of categories, beliefs, values, sensitivities,
tropisms, which brings to light unperceived, hidden, repressed parameters and factors
and enables behavioral displacements” (Ogilvie 2015, 280).

Our work, which was only recently exposed to Deligny’s thought, owes a decisive debt
to Gilles Deleuze, who allowed us to stop thinking of the dispositif as a cinematic work
method or as a “prison” in which the film unfolds, but rather as an operator in reality
itself. The images would grow out of an action that produces micro-deviations under
the chosen conditions. We took a wager on the instability inherent in the social order
and in ways of life, as if the dispositif merely activated a movement that already existed.
The dispositif is an intensifier, rather than a creator. This act of intensification could
not occur without bringing together several agents of various natures. On Foucauldian
dispositifs, Deleuze writes:

65
 The dispositif is a kind of skein of yarn, a multilinear ensemble. It is composed of multiple-
natured lines, and these lines of the dispositif do not encompass or delimit homogeneous
systems on their own (object, subject, language) but follow different directions and shape
always unbalanced processes, and these lines not only come close together but also move
away from each other. Each one is broken and subjected to (forked) direction variations,
subjected to deviations. Visible objects, possible utterances, forces at work and subjects in
a certain position are like vectors or tensors.” (Deleuze 1990, 155-161).

Thus, we would like to think of the dispositif as a knot that mobilizes creation and
stands between artistic creation and subjective creation, as the epicenter of both
processes. It is an indiscernible trigger between art and life, even when art and life do
not blend together.

Focusing on the dispositif means moving away from film as an end in itself and putting
its potential and possibilities into contact with the things of the real world and the
very individuals responsible for its creation. There is no such thing as the image on
one side and the world on the other, as if the latter were ready to become the former.
It is about drawing, sketching – in each moment, exercise, film, and experience – a
new empowering of individuals, machines, discursive and material stabilities, and
displacements that are nonetheless subjective.

pedagogy of the dispositif

So far, we have outlined the notion of the dispositif, but we must bear in mind that
pedagogy itself shares something with the dispositif, if we understand the dispositif
to be a machine, a knot connecting multiple agents in which exchanges and tensions
are part of the knowledge that is shared. Pedagogy thus goes beyond the idea of
“transmission” – teaching how to do or how to be – and comes closer to the concept of
a tangled producer of reality in which individuals and institutions, in their relations with
a multiplicity of non-human agents, reconfigure and tighten their inscriptions in the
world, redesigning the world itself. It is a pedagogy that works with the links between
knowledge and affect, without letting any normative function - of class, gender, future
or god - organize the ways of life therein. Following an unpredictable path, a pedagogy
of the dispositif would be guided more by creative intensities than by the accumulation
of knowledge. The movements that individuals undertake in their ways of coexisting,
which place them in shared spaces and times, precede knowledge.

Once the dispositif is understood as a political-methodological operator, we can move
on to the pedagogical proposals we were drafting in 20133 and to our work with film in
schools. The following are nine points that outline the main aspects of the pedagogy
of the dispositif. These are aspects that guide the daily
practices of image creation – in and out of school.

66
1. group. The pedagogy of the dispositif is carried out essentially in groups. The
creation of ways of life and subjective processes by necessity collective, not centered on
what an individual says or is but on the possibilities of doing and being that go beyond
individuals. The group is not merely a collection of people, but a way of sharing and
exchanging in which the group itself begins to dissolve the centrality of the self. The
group anticipates a relation between the individual and society that is fundamental
to creation, like a Möbius strip in which the inside and the outside depend on ever-
changing agencies. Cinematic creation, subjective creation.

In group film practices, the images and sounds created come from outside the group,
from the relations with the world, and it is these relations that we address, removing
from the group the little personal stories, the repetitions that have already been
organized into individual narratives. If self-centered talk takes place, it is already
mediated by a relationship of otherness to what has been done within and outside the
group. In the process of group de-individualization, that is, as the group learns to create
together, it leads to a displacement from over-codified personal places. On the first day
of the meeting, no one tells a story about themselves, nobody forces upon the group the
already-organized narratives, the already-established places. Here, the group members
do not have rigid frames that precede and ensure unity; these are not identity groups,
for instance. This is the immanent and unstable dynamic of the group. Always pierced
by what comes from outside – images, sounds, words –, the unity of the group is a hole.
A hole that is needed if we wish to disarm the toxicity of automatisms that always bring
us back to the self and to the projects that compel the self to obey the orders of the
world. The group finds its territory in the deterritorialization of creation – individual and
collective, artistic and subjective.

The difficulty of creating as a group lies in its very existence, since there is no center
within the group, no leader, no owner of knowledge, no identity, but rather a procedural
dynamic in which the group itself takes responsibility for its own existence. This
responsibility often grows out of the way in which a group memory is written. In our
practices, after each meeting, a group reports what happened to everyone. A free
recounting of what took place, the ways of creation that appeared, the ways of seeing
and understanding the world-images that circulated in the group. The lack of centrality
makes the group fragile and dynamic, which paradoxically may be its greatest strength.
Thus, group meetings must not be confused with classes;
instead, they are a noisy gathering in which each person
offers what they can to the collective and, above all, shares
their desire to be there.

67
2. film culture. The work with dispositifs is based on the premise that everyone can
make films. With as little as a two-hour learning session, we are ready to embark on an
adventure in the sea of stimuli that the world presents us with, which becomes the fodder
for our art. Film culture can greatly enrich practice, inspire new dispositifs, and enable a
more complex wandering between the images and sounds that we produce. But it can also
be oppressive, creating hierarchical relations that destroy the group. A group is not made
up of someone who owns something and others who do not. When this vertical relation is
established and maintained, the group is done for. Film culture can be a trap that destroys
the experience.

3. everything is right. To start making cinema, all you need is a shot. A shot is
everything that happens from the moment we turn on the camera to the moment we turn
it off. It is not about making a film, but making a shot. It is “to camera” (camérer), to use
the word coined by Fernand Deligny (2017, p. 1742). It is to use the camera as a device
to map and experience, as a way to establish creative relations with space. To reach
such an openness, it is enough to follow two or three very easy rules that even a child of
seven years could understand. From this point on, everything is right, correct – a multiple,
variable, inhabited correctness. We are not in the land of multiple-choice. In the classroom,
in the group, there is no competition. Comparing different outcomes is productive. The
images are edited side by side, not compared hierarchically.

4. shot, shots and redirections. To make a shot is to redirect the time that passes
into the time that remains. With a dispositif we choose what lasts, what remains, what
is shared. In a one-minute shot, we choose just one of the thousands of minutes we
experience every day. Filming is a serious act. It is a break in the passage of time. It is a
timespan framed by gazes, words, thoughts – which are renewed as images are reviewed.
Making and viewing a shot means thinking with the resources the world provides us.
The permanence and dissolution of time are two aspects that are not mutually exclusive
in film. When we see them together, the time that remains in the image is no longer the
same.

68
5. untext. It is a commonsense notion that a film starts with a script. However, this
was not always the case, and we can trace back a whole history of film in which images
preceded words. Especially in the field of documentary filmmaking, the creation of
encounters, situations, rhythms, and dispositifs constitutes a thread that runs through
a fundamental part of film history: Viola, Varda, van der Keuken, Vertov, Vigo, Pazienza.
Having this option in our work in education opens up the cinematic experience in
two important ways: a) We do away with the school hierarchy in which students who
write and read well receive high grades and compliments while those that do not are
undervalued. When we start from the image, classroom hierarchies are turned upside
down. B) To start from the image is to relinquish the linguistic organization that aims
to reduce the image to a representation of thought, giving primacy to text over picture.
Text, in fact, tends to hinder the motion of images. Although it is true that not every
script is this domineering, in the school environment the centrality of the script is often
the dominant discourse, given how difficult it is for a script to escape the propensity of
the word to organize what is visible.

6. to document. Turning the camera on and off is already an act of letting in the
world. In the dispositif we added the need for choosing, for creating. Creating in a
relation with reality, with the other, with the context. In the documentary, without the
primacy of the text, there is no blank page, and there is always a giant, inhabited world.
That is the very definition of image: the image takes reality in and alters it. The dispositif
is the mixture of production and representation. We do not abandon reality, but we
change it in the same gesture. The main challenge to the subjective processes inherent
in the dispositifs: to notice and to change what is noticed.

7. no theme. By the hyper-organization of language, of the object to be represented

or of the image as information, we can open images up to a sensory dimension that is
often absent in thematically-focused images. Without themes, images are things, and
we must listen to them, set our sights on their workings, on all of the beings involved
and on all that we see and hear. Before there are themes, there is an experience with
images, with the ways in which they escape any functionality. We contend with these
things, with the ways they occupy, create and reveal our world. From time to time, we
develop ideas for dispositifs such as redirection, waiting, place. Such notions work as
mobilizers of an intensity, rather than as an object to be represented. In the pedagogy of
the dispositif, when we think of “themes”, they are prompts for attention, mobilizers of a
sensory presence.

8. politics of collision.4 By doing away with the primacy of the text, we open ourselves
up to chance. Chance is the possibility that a variety of strands may affect the dispositif
and the image. A person’s gesture, a word, an untamed sound, a theme that was not in
any script. As Lygia Clark would say, it is about “merging into the collective”.

Yes, there is two-way interaction – between student and student, student and teacher,
teacher and camera – but an third party is present in every moment. In every moment,
this interaction with the outside collides with other objects, spaces and natures.
Paradoxically, the dispositif gives centrality to the outside, not to binary relationships or
to individuals.

69
on creation
The image is creation and discovery. It is a leaving of oneself and a reflexive return.
Earth and delirium. Two powerful strands, one grounded to the earth and another that
is groundless. The earth thread has a face, a weight, a space, a border, a name. The
groundless thread wanders, rambles, raves, marvels, changes, expands. How can cinema
move between these threads? How can we – in a pedagogical process with students
that may have little to no prior experience with writing or pictorial narrative – create
opportunities to engage them in creative processes that move between what is given
and what is yet unnamed? There is a helplessness and an openness in working with
dispositifs. Before it enters into action, there is no comfortable position, no known world
to be represented. Working with control and with a lack of control means putting myself
in a center of attention and judgement with something that is not mine.

Just like a Möbius strip – a path with no beginning or end where the inside and the
outside are interchangeable – the pedagogy of the dispositif has two strands, running
through a thread grounded to the earth and another that is groundless.

Somewhere, someone will tell you who you are. They are wrong!

A step, a house, a relationship, a child, a political struggle, a group, a love – what makes
all these possible is creation. Everywhere, the “what there is” – that which presents
itself to our perception – asks us for a twist, a disruption, a movement, a redirection, a
montage. It asks us to make something out of what we receive.

To create never is to start from scratch, from nothing, from the ideal, or to aim for the
finished, the ideal, the perfect. Creating is exhaustive, endless, boundless. It demands our
deepest and most intimate selves, our smallest details and our everyday life. If we live
in a world of clear goals, objectives and finishing lines, creation is what fuels explosion.
Creation - the watchword of capital - when it is beholden to capital becomes just another
variation to the same end, which is capital itself: null creation, one that does not belong
to itself.

Creation is democratic, allowing any individual to participate in what is new, what is

created, what blows what we know out of proportion. It allows anyone to create their own
uncontrolled self. The relationship between art and subjective processes is crystal-clear.
Both demand an escape from oneself, a relationship with the unknown, with what is not
organized by capital or by language.

Rather than an individual process, creation is the way individuals and groups put into
motion and into contact myriad elements of multiple natures. If creation matters, it is
because it mobilizes ever-widening ways of life that include neighborhood sanitation,
the delirium of a mad person, and music. The limit of what we can do is material and

70
delusional. On the one hand, you need a limit. It is the relation with real forces –
the school wall that allows external sounds in and precludes a film screening; the
private company that prescribes books and software to schools. Creation is not
isolated from this sphere. We hope that the house does not fall, that the fire burns
only what we want it to burn, that drugs are a way out of ourselves, not something
hidden in our food. On the other hand, there is multiplicity, something that erupts
in eagerness, in the game of a child who goes from the hero to the dead, from
the animal to the more-than-real without defining any boundaries. As Félix
Guattari and Suely Rolnik (1986, 155) wrote, “subjectivity does not exist on one
side and social reality on the other”. In other words, what we invent as forms of
relationships and desires cannot be separated from social conditions. The robbery
of political time is also the robbery of time for celebration.

The operators of oppression are out there: fear, debt, class oppression, moral
and linguistic oppression. There are fierce disputes over what restricts ways of
being, restrains delirium, and denies difference and the other. Perhaps creation
may lead us along a crooked path that not only sets us apart from fear, from
willing submission, but also connects us with the unknown where the sounds of
difference, minorities, lunatics, rogues reverberate, all those who were cast out by
borderless capitalism, this worldwide mega-machine of exclusion.

God has died and capitalism has placed the individual center-stage. The
entrepreneur, the enterprising self, the competition of all against all. We owe
nothing to God, but we do owe it to ourselves. The debt has become universal –
monetary, cognitive, subjective. We become our own first judges, which authorizes
us to judge everything. The closer the other is to me, the harsher my judgment
will become. Immigrants hate immigrants, left-wing activists foster fierce
disagreements with one another, couples destroy each other, black policemen
kill black youths, and so on. Creation does not produce objects but ways of being
with the world without surrendering to a “higher value” (Deleuze 1997, 165).
Creation does not report to pre-existing allies – the asset, the market – but takes
place in the constant creation of new allies. Creation is the opposite of debt
and of judgment. Creation experiences the agents of the world as opportunities
to combine, to assemble, to kindle sparks that causes friction, that unite and
double. Creation is a matter of assembly and connection, and it does not abide
judgment. Two, five, ten parts are joined, assembled, pressed together. Creation
is a connecting gesture. That is why plugs, connectors and cables always have
problems connecting. Connecting is much more complex than it seems.

And so, lacking harmony but also lacking a higher form, the creative gesture is
an act of listening and gazing that distinguishes, that is curious and eager for the
world, that invents ways of being-with.

71
Our wager on the pedagogy of the dispositif is inextricable from that
movement that unites in one gesture artistic creation, self-creation, and
world-creation.

how do we know we are in the realm of creation?

1. you will never be satisfied.

2. you will not recognize yourself. How can it be that I created this?
Exactly because you have not. There has been a connection with other
worlds and with what is not us. Something connected.

3. there is no creation without intense doses of joy and angst. Every

creation is groundless. There is no base on which we can judge its
success with any certainty.

4. what I / we did makes sense and is different from functionality.

Functionality is always greater or lesser than function.

5. unlike what capitalism calls creation, the one that creates may prefer
not to create. If it is possible to not create, then creation is possible.

72
 Notes

1. Artist’s website, accessed March May 2019, http://www.caoguimaraes.com/en/obra/rua-de-mao-dupla/.

2. Sandra Kogut’s Hungarian Passport (2003), Paulo Sacramento’s Prisoner of the Iron Bars (2004), Mike Figgs’s
Time Code (2000), Eduardo Coutinho’s Babylon 2000 (2000), and Kiko Goifman’s 33 (2003) are some of the films
created through dispositifs around the turn of the twenty-first century.

3. In 2013 there was an urgency to our research and outreach. Following an invitation from the Secretariat for
Human Rights of the Presidency of the Republic, we began a teacher training project in all Brazilian states,
reaching over 250 schools and approximately 500 teachers. It was a very small project for the country, but a
huge one compared to the scope within which we had been working up to that point, out of the Fluminense
Federal University. Our first action was to return to the dispositifs, to mine from the history of film small acts
that could be reorganized as dispositifs, keeping documentary film and experimental film in the center. With
almost thirty exercises, organized as little devices for playing and experimenting with cinema, we published
a volume in which we proposed a new dispositif every two pages. Teachers would be responsible for deciding
which classes and age groups would be appropriate for each exercise. A record of this experience is available
on the website www.inventarcomadiferenca.com.br.

4. Expression used by Bruna Pinna at the UFF Department of Psychology meeting on March 7, 2019.

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m an is only f ul ly human when he p l ays! Fred er ich Schiller, On t he Aesthetic Ed uc ation of Man
REFERENCES

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77
Project Inventing with Difference - cinema, education e human rights

team The Inventing with Difference

Notebook
concept
Cezar Migliorin Cezar Migliorin
Isaac Pipano Isaac Pipano
Luiz Garcia Luiz Garcia
India Mara Martins
institutional coordinators
Alexandre Guerreiro
India Mara Martins Clarissa Nanchery
Douglas Resende Frederico Benevides
Douglas Resende
production coordinator
Alexandre Guerreiro
translator

pedagogical coordinators
Eduardo Andrade Barbosa de Castro
Cezar Migliorin Jonathan Fleck
Isaac Pipano
illustrator

graphic coordinator and designer

Fabiana Egrejas
Luiz Garcia
cover and additional illustrations

film education consultants

Luiz Garcia (pp. 57-58, 65, 67 e 69)
Adriana Fresquet | UFRJ
proofreader
Eliany Salvatierra | UFF
João Luiz Leocádio | UFF Cristina Parga

printing
evaluation consultant
Sara Rizzo Print Mill Gráfica

project secretariat
Eduardo Brandão
Luciana Arraes
Teresa Assis Brasil
Luíza Catalani

press officer
Laís Ferreira
in partnership with

FLACSO BRASIL - Latin American Faculty of Social Sciences

directors
Salete Sirlei Valesan Camba
Patricia Barcelos

Ministry of Justice and Citizenship

Secretariat for Human Rights

General Coordination for Monitoring International Cooperation Programs

Flávia Santos Porto Marins
Pedro Henrique Angoti de Moraes

Inventing with
difference
cinema, education and human rights

Fluminense Federal University - UFF

Institute of Art and Media - IACS
Department of Film and Video
KUMã - Laboratory of Research and Experimentation in Image and Sound

Rua Prof. Lara Vilela, 126, São Domingos – 24210-590 –, Niterói, RJ, Brasil.
 Dados Internacionais de Catalogação na Publicação (CIP)
Agência Brasileira do ISBN - Bibliotecária Priscila Pena Machado CRB-7/6971

M634 Migliorin, Cezar.

The inventing with difference notebook : cinema,
education, and human rights / Cezar Migliorin ... [et
al.]. —— Niterói : EDO, 2019.
80 p. : il. ; 24 cm.

Inclui bibliografia.
ISBN 978-85-92655-01-3

1. Direitos humanos - Estudo e ensino - Brasil.

2. Direitos humanos no cinema - Brasil. 3. Cinema na
educação. 4. Brasil - Políticas sociais. I. Título.

CDD 323.07