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MEDIA LITERACY AND INTERCULTURAL DIALOGUE • The constant presence of activities. Strategies, Debates and Good Practices As explained previously, the dynamics are used to connect the students with their senses and thoughts, serving as a bridge between the empirical and theoretical knowledge with its metaphorical value. It should push away the fear of failure to make way for the invention, proposals, creative problem solving and teamwork. • The teacher's role as a motivator guide. The master and his assistant must promote the meeting of the student with the knowledge that comes from both outside and of itself, leading to the creation of audiovisual texts with a message. It is true that sharing concepts is important, but even more to be accompanying the student constantly, motivating a critical look and the interest in express themselves about the world around. • The work area as communication and education space. It goes to indicate that learning venues also interact with students, therefore talk about integration, exploration, creativity and teamwork would be in vain if not promoted a situation to invite the participation of students and teachers in class equitably, with available materials, seats that look at each other, exercises that include all participants, etc. 4. Conclusion To achieve an audiovisual literacy, concept used by Joan Ferres (Ferrés i Prats, 2008) and David Buckingham (Buckingham, 2005), there is a long way to go, made by children and adolescents who, thanks to his interest in film, come to this project, which has a particular view on how to conquer the conscious use of audiovisual media. The systematization of the proposal has been a constant learning process where, for the first 3 cycles of the Basic Film Workshop, the formats in which we provided theoretical knowledge evolved through trial and error: for example, at the beginning we had the presence of games but not completely managed to connect with the issues, we also used very nice presentations but without examples of films that they were used to watch. With time, and ongoing training, were created dynamics that could be metaphors for the class and also helping the exploration of the senses, as well as commercially successful films as references. Were raised initially only two objectives: • Promote analytical observation and the free expression of their hypotheses, while they use the audio visual language. • Encourage the creation of own speeches while knowing the value of teamwork, patience, effort and responsibility. 151
MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices Both represented the know-how and run audiovisual technology, which to be honest, is what many of us believe before engaging with the passion that comes with this profession. To achieve both goals with the students we had to decide what issues could not be relegated essential facts that help someone to communicate effectively using technology and visual language. Therefore it was considered: • The history of cinema, because take us to know about contexts, tells us who were we, who we are and how do we succeed. • The audio-visual language was inevitable because, besides being the ABC of communication works as a uniform platform for the transmission of messages. • Parts of the story, script writing and pre-production helps students to think in an organized way, obtaining formal sequences to achieve its aim, seeing details that are often lost, encouraging the creation of mental images of how they could see his film even before have it in their hands. • The special effects were included both because it was assumed that students would like to understand how certain physical things happen in many films and series, and to add a more imaginative stories production process, giving rise to the generation of content where everything could be possible noting, at the same time, the power of the image to create illusions about the universes that constantly are presented to us. • Finally editing, the abstract visual aspect. It is the piece of the puzzle that could not be left out, it is the process that closes the creative circle, adding shape and meaning to the recording. At the end of this listing in the question was how to get them to understand all this? How to introduce into their minds the capacity of communicate using these new tools without them to flee of all the information presented? It was thanks to Workshop "I Play, therefore I am" with Ana Maria Izurieta (Izurieta, 1996) that I understood the value of feeling the texture, the importance of sensing the warmth and emotional weight of the color paint before choosing one to start painting, or where I also learned to linger in the garden of the workshop to look at the clouds and try to identify what we feel about it. In this case, applying it to this presentation, we realized that to make movies we should understand the plans, colors, shapes, angles, etc. as an extension of the way our body communicates usually. So, we decided that we had to motivate kids to use non-verbal communication and give them the time to explore it in a way they were not used to do it. That is why it results obvious, because of their age that we had to develop games that help the students to expand their five senses, left aside in some occasions. If they are connected to their senses, they can receive information from outside, and therefore use the environment to find inspiration and thus create audiovisual contents with a personal point of view. 152
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