Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Saberes emergentes de la escuela, educación popular, escuela alternativa y otros aprendizajes"

Abstract

The program begins by highlighting the interdisciplinary nature of cinema, which brings together writers, historians, and actors. Víctor Gaviria argues that film is an art of synthesis and a cultural encounter that reveals truths not accessible through academic essays. His work is based on dialogue with "natural actors"—people whose lives are the source of the stories. Through this process, he accesses a profound knowledge that comes not from study, but from lived experience. Gaviria explains that his cinema is inherently political and ethical. It is political because it makes the truths of marginalized populations visible, and it is ethical because it opposes "poverty porn," the morbid exploitation of poverty. The filmmaker responds to criticism for not making films about his own life by arguing that everyone is part of the same society and that it is crucial to establish a dialogue between the "excluded" and the "included." Cinema becomes a medium for breaking down stereotypes and the black-and-white view of "good and bad." Linguist Gustavo Pinilla complements the discussion by analyzing the language in Gaviria's films. He emphasizes how parlache (popular slang) is not just a way of speaking, but a reflection of a profound experience of exclusion and pain. The program highlights that consumer society has caused a "numbing" of human feelings, and that true humanity is often found in the voices of those who have been marginalized. The language of these characters, such as the use of the word "gonorrea" to describe life, contains a "profound experience" of seeing life as a "disease." The conversation also addresses the importance of urban geography in Gaviria's films, especially in the context of Medellín. It discusses how the director's cinema has revealed the reality of informal settlements and the "invisible borders" of the city. The journeys in the films are not just settings, but a way of visiting places through the experience of their inhabitants, showing a unique architecture that reflects a "social, ethical, and conceptual relativism." Towards the end, the question is raised of whether cinema and schools are indebted to Colombian youth. Gaviria responds in the affirmative, criticizing how schools, while they can "save" some, sometimes educate them in intolerance and selfishness. He advocates for a more "aggressive" school that respects emerging knowledge and shows solidarity with those who have been left "outside of institutions." In this sense, his cinema is presented as an attempt to break these molds and offer a more human and real perspective of society.