Espirales. Revista multidisciplinaria de investigación científica, Vol. 6, No. 41
April – June - 2022. e-ISSN 2550-6862. pp 55 - 63
DOI https://doi.org/10.31876/er.v6i41.816
Educating in values with teaching innovation tools
Educando en valores con herramientas de innovación docente
Carmen Parra Rodriguez*.
Yolanda Cruz López*
Received: December 18 , 2021
Approved: January 22, 2022
* D. in Law, Director of the UNESCO Chair at the
Abat Oliba CEU University, Barcelona - Spain,
cparra@uao.es. https://orcid.org/0000-0002-5954-
5553
* Doctor in Education, Founder of Educomunica,
Barcelona - Spain, yolandacru@gmail.com
https://orcid.org/0000-0002-5352-150X
Abstract
Audiovisual media provide a didactic resource in the teaching of
literature and report valuable results by quickly and effectively
capturing the attention of students. However, neither in the
academic world nor in everyday life, the manifest and deep
attraction that the public feels for audiovisual media, as well as the
interest that teachers may have when using them, are directly
proportional to the existence of adequate audiovisual teaching
material, nor to its quality. The main objective of this work is to
know the possibilities of the audiovisual applied to the formation
and teaching of values, being this the main transmitter of
information, knowledge and ideology in the Information Society
in whose bosom we relate and develop.
Keyword:
Education in values, audiovisual media, teaching
innovation.
Cite this:
Parra, C., Cruz, Y. (2022). Educating
in values with teaching innovation
tools. Espirales. Revista
Multidisciplinaria de investigación
científica, 6(41), 55-63
Educating in values with teaching innovation tools
Espirales. Revista multidisciplinaria de investigación científica, Vol. 6, No. 41
April – June - 2022. e-ISSN 2550-6862. pp 55-63
56
Introduction
The use of cinema (films, documentaries, short films, animation, video-creation, etc.) as
a didactic instrument must be carried out correctly, and for this purpose it is necessary
to elaborate a didactic sequence before and after the viewing, as well as a studied
selection of cinematographic texts to be used in each case.
The choice of the short film format, when using the audiovisual as an educational tool,
derives from the possibilities it offers when working with it in didactic sessions, both for
the short duration of the filmic text, and for the narratological rhythm used by the
filmmakers, closer to the rhythm of the audiovisual products consumed by the
population aged between 13 and 28, made up of young people immersed in the media
omnipresence of the Information Society (Trejo, 2001). This audience is characterized
by its lack of knowledge of audiovisual language and, consequently, by its scarce
objectivity when empathizing with the roles with which it identifies and through which it
develops its relations with society. Therefore, it is an audience in need of acquiring an
audiovisual competence that allows them to maintain their gaze and foster their critical
spirit (Parra and Cruz, 2015).
In order to obtain results, a roadmap must be followed in which the following actions
are carried out:
- A study of the consequences of the technological revolution in the field of
communication and training.
- The analysis of the method of audience creation prior to the design of the
audiovisual product that will be supported by a certain use of cinematographic
language, in order to generate needs, expectations, emotions and/or empathy in
the audience.
Resumen
Los medios audiovisuales facilitan un recurso didáctico en la
enseñanza de la literatura y reportan valiosos resultados por captar
de manera rápida y eficaz la atención del alumnado. Sin embargo, ni
en el mundo académico ni en la vida cotidiana, la manifiesta y
profunda atracción que siente el público por los medios
audiovisuales, así como el interés que pueda tener el profesorado a
la hora de usarlos, son directamente proporcionales ni a la existencia
de un material didáctico audiovisual adecuado, ni a la calidad de
éste. El objetivo principal de este trabajo es el de conocer las
posibilidades del audiovisual aplicado a la formación y enseñanza de
valores siendo este el principal transmisor de información,
conocimiento e ideología en la Sociedad de la Información en cuyo
seno nos relacionamos y desarrollamos.
Palabras clave:
Educación en valores, medios audiovisuales,
innovación docente.
Carmen Parra Rodríguez, Yolanda Cruz López
Espirales. Revista multidisciplinaria de investigación científica, Vol. 6, No. 41
April – June - 2022. e-ISSN 2550-6862. pp 55 - 63
57
- The assessment of the need to acquire the necessary audiovisual competence both
to broadcast messages in the audiovisual code and to read them correctly,
supported by the critical spirit that allows the knowledge of such language, in order
to distinguish the message itself from the intention with which it was created.
- A guided reading of the film text with the attendees to help them distinguish the
empathy-generating function and to locate the previously identified archetypes.
- A reflection on the use of cinematographic language by spectators as passive
receivers of it and as active receivers.
Short films for learning, respect and coexistence: O' Cabeçudo
The screening of the short film O'Cabeçudo (Fernandes, 2015) whose development and
conclusions occupy this research, took place in February 2021, in the framework of the
educational program Cortos y Español, launched four years ago by Professor Gosse
(2016) at the Vechtdal College in Hardenberg, and in which this educational center and
Fundación Inquietarte collaborate with the international short film festival, Visualízame.
The activity was coordinated by Gosse (2016), professor of English and Spanish ELE at
Vechtdal College, responsible for the contents of foreign language and culture (2016)
in the didactic unit developed and Yolanda Cruz, director of the festival, Master
professor (Univ. Abat Oliba CEU of Barcelona), philologist and graduate in film; and
Carmen Parra, Director of the UNESCO Chair on peace, solidarity and intercultural
dialogue Abat Oliba CEU University, following the line of research initiated (2015), were
responsible for the contents related to the emotion-generating power of cinema and in
audiovisual training.
The screening took place in the morning (2 hours) at the kindergarten and primary
school De Elzenhof (Hardenberg, The Netherlands), with 6th grade students between
10 and 11 years of age, a total of 30 students, 14 girls and 16 boys.
In the didactic unit "Short films to learn. Respect and Coexistence: O'Cabeçudo" the
following contents were worked on:
Brief introduction to the information society.
Characteristics. Consequences of the
technological revolution in the communicative and educational processes. During the
session, the students received a minimum and essential knowledge about the
Information Society (Cruz, 2012), characteristics and consequences in the
communication processes (Pérez, 2000), keeping their exposure to the previous
knowledge that this audience could have of them, and insisting on their influence when
characterizing social relationships, use of social networks, privacy settings, etc. Their
vulnerability to the image (Cebrián, 1995), basic notions of orality (Morote, 2010) and
of the characters of wonderful stories (Propp, 1985) and their archetypal use (Cruz,
(2016). After reading the film text, we reflected on them and their possible
identifications.
Spanish vocabulary to learn through animation drawings
. Gosse, (2017)
Educating in values with teaching innovation tools
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After the theoretical session, the practical phase took place, consisting of the screening
of the short film O' Cabeçudo (Fernandes, 2015) without a reading guide, thus allowing
the students the free choice of the identifying character so that the resources of
cinematographic language, used by the filmmaking collective of the short film, would
achieve the intended objective: to provoke emotions that would help reflection and the
generation of values.
Likewise, the children's teacher at the center, Irene Hallink, who was also present,
attended the screening and the subsequent discussion, which allowed her to confirm
the value of audiovisuals as an innovative tool in teaching (Tynner, 1993). Once the
activity was held, it served as a starting point for her to work on the proposed values in
the classroom during the following days.
Analysis of the short film O'Cabeçudo (Fernandes, 2015).
The Portuguese filmmaker was a finalist in the VI edition of the Visualízame festival and
his short film was selected for the traveling educational activity that the festival carries
out between editions.
O'Cabeçudo was part of the selection of works chosen to be screened in the thematic
educational activities organized to denounce school bullying. In addition to the plot and
the animation format chosen by Fernandes, which is so successful when working with
students between the ages of 4 and 13, O'Cabeçudo brings another value: the fact that
it is a classroom work, carried out by Nelson Fernandes, in collaboration with fellow
teachers and his students.
The children attending Fernandes' animation workshop, Projecto Matriz E5G (Portugal),
selected the story they wanted to tell to raise awareness of the need to prevent and end
bullying, wrote it, and volunteered to be the protagonists of the short film using
caricatures of themselves that they created. Meanwhile, in Santiago de Chile, the
students of the Music Composition for Soundtracks course taught by Pablo Ríos,
professor of music and technology at the Universidad del Pacífico and producer of the
short film, were in charge of the soundtrack, and Filipe Santareno, singer and composer,
had children's collaborators to interpret and compose the main song that illustrates the
film's credits.
It is therefore a work of self-learning, both for teachers, who have been forced to
acquire, in some cases, or to expand and improve, in others, their notions of
cinematographic language and the use of audiovisuals in teaching; and for students
who have been trained in the codes of audiovisual language to use it as their own when
exposing and showing the world what worries them in their daily lives, which is none
other than bullying in the classroom.
A boy goes to school saddened and saddened. The reason is the harassment he suffers
daily from his classmates before the impassivity of the teacher. In a fantastic way he
manages to solve his problems when, unconsciously, he connects with a wolf, the animal
Carmen Parra Rodríguez, Yolanda Cruz López
Espirales. Revista multidisciplinaria de investigación científica, Vol. 6, No. 41
April – June - 2022. e-ISSN 2550-6862. pp 55 - 63
59
that lives inside him, a representation of strength and courage to which he turns to end
the situation. The oral tradition and the legends that revolve around the figure of the
lycanthrope are the solution. The boy, turned into a wolf, with his strength and
determination, will confront his bullies, restoring his self-confidence.
Materials and methods
Student group: Session delivered on February 9, 2021 to 30 students between 11 and
12 years of age, 6th grade students at De Elzenhof school in Hardenberg (The
Netherlands). Of these, 14 were girls and 16 boys.
After viewing the short film, once the students have worked with the Spanish vocabulary
according to their level of studies, they are asked a series of questions aimed at
transferring knowledge and provoking reflection and self-criticism.
The aim was to evaluate both the use of the audiovisual and the use of the didactic
innovation tool, and it was possible to verify the deficient competence of the spectators
as users of the Information Society (social networks), the normalization of harassment
attitudes, a consequence of this incompetence, and the instructive value of the
archetypes.
All this could be analyzed through a qualitative survey (Selltiz and Jahoda, 1980) the
questions in the survey were divided into eight blocks with questions related to the
valuation of the audiovisual as a tool, with the familiarity of students with bullying Molina
and Vecina, (2016), the search for empathies, the understanding of empowerment and
with a survey to know the personal experiences of students with bullying, either as
victims or as bullies.
Table 1.
Blocks with questions related to the valuation of the audiovisual as a tool.
Block 1 Did you find the class with the projection interesting?
Block 2 What is bullying?
Block 3 Is the main character happy to go to school?
Block 4 What happens to you at school to make you dislike going?
Block 5 How do you feel?
Block 6 Why does the wolf help you?
Block 7 How does it help you?
Block 8 With which animal would you identify yourself?
Block 9 What other ways of harassment do you know?
Conducting the survey among the attendees to be answered individually in writing
before the end of the session.
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Results
The identification of most of the students with the protagonist confirms the ease with
which the audience of that age is easily influenced, something negative when it comes
to assessing their audiovisual competence and their role as passive viewers (Serey and
López,2013). However, it does not allow reaffirming the power of the audiovisual to
generate emotions, always with an ethical and objective didactic use, for which the
audiovisual competence, in this case, of the teachers who intend to use this effective
educational tool, must also be adequate.
Table 2.
Surveys February 09, 2021, Primary students (Hardenberg, PB).
Block 1 Did you find the class with the projection interesting?
30 Yes
----------------------------------------------------------------------------Bloque 2
What is bullying?
20 When someone is beaten at school
5 When they take away your sandwich
3 Not wanting to go to school
2 Don't know / No answer
----------------------------------------------------------------------------Bloque 3
Is the protagonist happy to go to school?
30 No
Block 4 What happens to you at school to make you dislike
going?
30 They laugh at him and throw the ball at his head.
2 They record it or take pictures and send them to other
people.
10 Papers are thrown at you in class
1 He gets hit with a yo-yo when he doesn't look at the
teacher
30 They draw caricatures and laugh at him because they
draw him as a monster
8 Upload photos of the drawing to social networks
30 The teacher scolds him on top of it.
--------------------------------------------------------------------------Bloque 5
How does he feel?
30 Sad
20 Only
8 With fear
------------------------------------------------------------------------- Bloque 6
Why does the wolf help him?
12 Because he is your friend and does not want to be
harmed
8 Because it is strong
6 Because he is a monster who defends it.
Carmen Parra Rodríguez, Yolanda Cruz López
Espirales. Revista multidisciplinaria de investigación científica, Vol. 6, No. 41
April – June - 2022. e-ISSN 2550-6862. pp 55 - 63
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4 Because he is the wolf
------------------------------------------------------------------------ Bloque 7
How does it help you?
30 Scaring the hell out of everyone
10 Doing what has been done to him
4 without doing any harm, just being scary
---------------------------------------------------------------------- Bloque 8
Which animal would you identify with?
15 With a wolf
6 With a lion
3 With a leopard
3 With a bull
2 With a bear
1 With a fish
-------------------------------------------------------------------------Bloque 9
What other ways of harassment do you know?
14 Scaring you in the hallway
9 Taking away your snack
5 Breaking your material
2 Hitting you with something that hurts
Discussion
Moreover, the scant recognition of the passivity of those who know about the
harassment or those who participate in the violence perpetrated by sharing their digital
footprints on social networks, as accomplices of the harassment reinforces the
affirmation of the normalizing power of audiovisuals in communication.
As for the role of the archetype of the Big Bad Wolf or the lycanthrope as antagonist, at
first, unconsciously aware of this literary tradition, it makes the students think that the
wolf is a monster even though he wants to help the child.
Once assimilated that, in this case, the antagonist and the protagonist show the two
faces of the same character, everyone agrees in understanding that the wolf represents,
at first, the fury and rage that the protagonist feels because of the harassment he is
victim of, and, after a second reflection, the strength and courage that helps the
protagonist to denounce his situation by confronting it.
Conclusions
The omnipresence of the Information Society with the new languages on which it relies,
and the power of these languages thanks to the technological revolution, makes it
necessary and essential to achieve an audiovisual competence that allows the
subsistence and reinforcement of the critical view and spirit. In this sense, the
normalization promoted by the media in the information society reinforces situations,
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roles and events that, far from putting an end to bullying, can end up normalizing and
perpetuating it.
To this end, the use of the short film is offered as a support for classroom work, since it
allows, due to its duration and rhythm, to watch it as many times as necessary to develop
the contents and arguments that are intended to be worked on in a session. Finally,
multidisciplinary works such as the one coordinated by Nelson Fernandes, on the one
hand, provide students with the knowledge to become competent and active spectators
and, on the other hand, to make their own a language through which they receive not
only huge amounts of information on a daily basis, but also ideology, attitudes and
beliefs.
..........................................................................................................
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