Abstract

The cinema plays its pranks on us. We start in the chairs of a dark room projecting ourselves on the images that move us or alert us to the joys and dramas of life. Then we move away looking in a more critical and detached way. We even dare to take a camera, go to a cinema course, experiment with editing even when technological resources still did not allow us to go far beyond sketches of a project. We often take cinema to meetings with friends, girlfriends, colleagues and thus the tribe that is solidified and polemic around a film is born. When we find out she has impregnated us and employed us and she goes with us to our profession and to the situation of retirement. As a teacher I took it to school and at school I used it when and how much I could. Then, at the University, I crossed the path to retirement around the cinema. Not always peacefully. I often encountered Bergala. In the writing. In the reassembly of the Lumière films. In the États généraux du film documentaire de Lussas. When reading L’Hypothèse cinéma (2002) I considered it the best pedagogy book that I had ever read. Bergala says that the great hypothesis of cinema or art, at school, is the encounter with otherness, that is, the encounter with the radically other, in the school context, without, however, a break with teaching being necessary. and with classical pedagogy instituted.