#filpbook

Material pedagógico pronto para imprimir, adaptar e aplicar com a turma. No blog da Pedagoga Ingrid você encontra a proposta completa, sugestões de uso e o caminho para acessar o material. No post completo você encontra a explicação da proposta e formas simples de aplicar a ideia.

Gratuito • pronto para imprimir

Material prático para apoiar organização pedagógica, comunicação com famílias e rotina da equipe escolar..

⏱️ Tempo: 15 a 30 min

🎯 Objetivo: organização pedagógica

👧 Turma: Equipe e famílias

Arquivo gratuito em PDF

⬇️ Baixar o PDF grátis

🧩 Como aplicar

Clique no link para ver os detalhes, salvar a ideia e acessar o conteúdo completo.

It is in the darkness of the theater that the memories and dreams of a cinematic century were shaped. Today, they are stored on an infinity of infected hard drives, scratched DVDs, and more-or-less decomposed film strips around the globe. How should we preserve cinema’s scented corpse in the age of the poor image?

Please be advised: MFILES is a fox trap. It is the logical continuation of Stefan Zeyen’s investigation into the architecture of storytelling. But here, the artist reverses one of cinema’s oldest stunts: to transform disconnected space into cinematic time. Each flip book amounts to one take of Fritz Lang’s M, arranged in chronological order. At the back of a minimalist black shelf, the motion of the shots is tracked on the books edges. Both Muybridge – an ironed and folded one – and the Marey battalions get their due. Open or closed, we find in the MFILES the origins of cinema playfully reconciled. Time is, as Henri Bergson would put it, missing – all over again.

Zeyen gives a three-dimensional body to cinema’s early deceit, and he does so by choosing Lang’s first sound film, which makes the archive mischievous from the start. In M sound is performative, bridging intervals, always one step ahead of its images. The children’s chant foresees the plot, a blind man discovers the serial killer, the beggars’ whistles encircle him, and it is the noise of a nail tapping that gets him caught. Along the filmic timeline, Lang explores a place, 1920s Berlin, its eradication of the subhuman (played by an outlandish Peter Lorre), and the eventual return to societal order. By dissecting the sequences and abstracting the audio from the visual stream, Zeyen spatializes narration. The payoff is lost. All that remains are floating images; the anatomy of a pre-fascist society with a pending diagnosis. MFILES’ Berlin may be easily manipulated, re-ordered, deconstructed, and reconstructed by the viewer-becoming-user. Once the menace of the Beast has disappeared in the intervals, we might find other narratives to be drawn. Yet the film may also remain as a distant memorial, finding solace within the white walls of some honorable institution. Isn’t it the afterlife of every self-respecting archive?

We're pleased to share that with the help of the fine fellas at Leo Burnett, Peter's Flipbook has won for Self-Promotion via The One Club!