Comunicar 39-ingles - Revista Comunicar

87what concerns the training of teachers in order to beable to deal with multiple film and audiovisual literacychallenges.7. Five «Easy Pieces» of Literacy – 5 case studiesin «Comunicar, 35»Paraphrasing the film of Bob Rafelson (1970), oneshould always find some «easy pieces» to put togetherour capacities, our cultural stories and our memories.That was the challenge that was taken by the authorsof Comunicar 35 – putting together different film literacyapproaches in an attemptto build up some cultural bridgesamong different generations,movements and appropriationsconcerning the Eu -ropean collective film memory,presented here as a case studyand an example of many otherpossible film literacy approaches.The conservation of thecollective memory of soundsand images as a European culturalheritage means acknowledgingthe various evolutionarycontexts of audiovisualcommunication in Europe aswell as their relations with thecultures of the world at large, as these processes neveroccur in geographical or cultural isolation. The languageof film takes on a vital role in these processes ofcommunicative and educational evolution as a vehicleof collective communication and education, that is, asa factor for an in-depth learning of the most varieddomains of human knowledge – i.e., multiple literacies,including media and film literacy.It is also important to examine the evolution of thepedagogical dimensions of audiovisual communicationin general and cinematographic education in particularas the true starting point for an entire cultural repositorythat we cannot neglect or ignore, otherwise werisk casting into oblivion some of the most importanttraces of our European cultural identity which, by theirnature, are often so fragile. We are therefore obligedto delve into the media, channels, technologies andlanguage we have developed for over a century to addclarity to the collective creativity and necessities of theartistic and documentary narration that represents usand which enables us to reflect on our own humancondition. But strange though it may seem, the societies,sciences and technologies within which thesenarratives develop can also suffer from memory loss,just as we as individuals are forgetful or get old and areunable to regenerate the hetero-recognition mechanisms,and sometimes not even self-recognition, orbecause we cannot distance ourselves sufficiently fromour prevailing knowledge and narratives in order togain a more holistic, universal and reflective perspec -tive. It is not because artists, scientists or pedagogues,like other human beings, have a «short memory», butbecause the arts, sciences and technologies and theirlanguages are closed off and isolated within their ownFilm, in its many different forms, became the most commonvehicle of those New Environments of Media Exposure,thus, becoming also one of the most important instrumentsfor a Multidimensional and Multicultural Media Literacyamong the many different media users, consumers,producers and «prosumers» of all ages, social and culturallevels.particular spaces and sometimes separated fromknowledge, application and even dissemination. Thiscan happen in any branch of the arts or sciences, evenwhen the fundamental principles of their languagesbelong to education or communication, which in itselfis an enormous contradiction. Thus the technologicaland communicative supports of the records of the individualand collective production of knowledge turninwards in their apparent self-sufficiency from thestandpoint of the evolution of communication, takinginto account the technological and linguistic developmentof the past century, which has shown itself to befairly redundant as well as being a reducing agent thathas erroneously and inefficiently preserved the proceduralknowledge of construction and communicationof scientific or cultural learning. Consequently, we arenow obliged to analyze the possible risks of the loss ofthis collective property, which is often incrediblyinsubstantial and for that reason all the more valuable.To do this, we must also preserve, articulate and systematizesome of the main features of the processes ofcultural communication as phenomena of collectivememorization and learning. As so many scientists andComunicar, 39, XX, 2012© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 81-89