Abstract-Up to now, a large part of the debate and the initiatives involving rural areas have still tended to concentrate on activities orientated to markets (qualification of the productions, valorisation of the system of services to tourism, interventions on the valorisation of cultural resources), leaving the support actions regarding social capital and human resources in the background. The renewed centrality of the rural nature of local development directions needs careful reflection on the significance of the support actions and policies of these areas. The material resources (the products, services, high quality manufactured goods) and immaterial resources (local culture, traditions, lifestyles) present in rural areas are an integral part of the values around which the development actions of these territories, and not only these, must absolutely revolve. For this reason, rural area support policies must provide for, besides the support of productive activities, interventions on the available social capital, favouring its continuity and renewal. Investment in human resources assumes, therefore, renewed significance for the promotion of the rural character, laying the bases, for a re-qualification action, which has now become indispensable.

The present work analyzes a cinema experience at school, more specifically a cinema club workshop held in 2017, under the program Novo Mais Educação (2016), in Public School Profa Aurea Melo, peripheral region of the north of the city of Aracaju, capital of the state of Sergipe. This government program, aimed at the functional permanence of students in the school environment, had as its main objective the improvement of grammar and the development of mathematical skills. For the analysis of the experience, I use as a base the concept of an emancipated spectator, as proposed by Jacques Rancière (2002; 2012). I also think about the use of cinema in education beyond a functionalist vision, as proposed by Adriana Fresquet (2013) and Alain Bergala (2008). The comparative analysis with the Mais Educação Program, from 2009, made it possible to perceive that the changes that came with the “Novo” left out the more emancipatory character of the Program. Initially, in an impulse to consolidate integral education as a reality for Brazilian public schools, the 2009 Program intended to expand the participation of all agents involved in the school community, promoting a greater link between the community and school management. The mediation of experience, of contact between children and films, reinforced the emancipatory possibilities of this encounter between cinema and education.

Este artigo investiga o papel da fotografia no Jornalismo Científico, buscando analisar a configuração de seu espaço na mídia impressa sergipana a partir de dois veículos de comunicação. Ao mapear teorias da fotografia e articulá-las com estudos sociológicos contemporâneos, observamos que as imagens mantêm relações cada vez mais fortes no mundo. Se a fotografia é capaz tanto do registrar quanto do inventar, e se é na imprensa que a imagem fotográfica documenta o real, partimos de seu entre lugar para tomarmos a fotografia no Jornalismo Científico como construtoras de narrativas que fabricam um mundo, mas sem distanciar-se da função de documentos sociais

Apresentamos investigação sobre o cinema em língua portuguesa, analisando especificamente os filmes, A toca do lobo (2015), de Catarina Mourão, uma produção documental portuguesa, e A cidade onde envelheço (2016), de Marília Rocha, uma co-produção ficcional Brasil-Portugal. Buscamos problematizar, nas obras, os conceitos de ensaio e etnografia, relacionando-os tanto ao processo de realização como à elaboração teórica das cineastas acerca de seus filmes e do próprio cinema. Assim, as obras dialogam com temas relacionados ao objeto de estudo das realizadoras e também pesquisadoras em cinema. Como proposto pela Teoria dos cineastas, buscamos correlação entre as obras e as concepções de cinema a que remetem, a partir das manifestações verbais e escritas das cineastas e dos próprios filmes.

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