Received 03 December 2020

Accepted 10 March 2021

https://creativecommons.org/licenses/by-nc-sa/4.0/La spiritual intelligence: a challenge for the

Revista investigación docente

Vol – 4 No. 2, julio diciembre 2021

Universidad Nacional San Agustín

Facultad de Educación

e-ISSN: 2710-1231

42-56

Film appreciation as a didactic tool and learning

styles in students of Communication Sciences at

a public university in Lima.

Eduardo Gutiérrez Salcedo

Magister en Docencia universitaria. Universidad Tecnológica del Perú, Perú.

E-mail elgutierrezs@gmail.com ORCID: https://orcid.org/0000-0003-1964-3076

Valia Luz Venegas Mejía

Doctora en Educación. Universidad Privada Norbert Wiener, Escuela de Posgrado, Perú.

E-mail valia.venegas@uwiener.edu.pe ORCID: https://orcid.org/0000-0003-3032-8720

Abstract

The purpose of this research is to explain how film

appreciation as a didactic tool and learning styles

are developed in Communication Sciences students

at a public university in Lima. The participants

were 300 students of both genders. The research is

of mixed approach, the scope is explanatory and the

design is sequential transformational. The results

show that film appreciation strengthens students'

learning styles. Through motivation, analysis and

aesthetics, the student elaborates concepts,

searches for meanings at the audiovisual level and

experiences aesthetic enjoyment. In addition, the

fragments of films proposed by the teacher are

integrated to their perception, allowing them to

better understand the different topics programmed

in a course. The main conclusion reached is that in

any scenario where an action linked to learning is

developed, film appreciation influences the

student, provoking his enthusiasm to integrate new

Key words:

____________

Film appreciation, learning styles,

motivation, analysis, aesthetics.

Film appreciation as a didactic tool and learning styles in students of Communication Sciences at a

public university in Lima

knowledge to his previous knowledge, encouraging

him to live experiences that, while still having a

playful spirit, provide him with a 'lesson' or awaken

his interest in knowing and examining historical,

political and cultural contexts.

La apreciación del cine como herramienta didáctica y los

estilos de aprendizaje en estudiantes de Ciencias de la

Comunicación de una Universidad pública de Lima

Resumen

La presente investigación tiene por objetivo explicar de

qué manera se desarrollan la apreciación del cine como

herramienta didáctica y los estilos de aprendizaje en los

estudiantes de Ciencias de la Comunicación de una

universidad pública de Lima. Los participantes fueron

300 estudiantes de ambos géneros. La investigación es de

enfoque mixto, el alcance es de tipo explicativo y el diseño

es transformativo secuencial. Los resultados muestran

que la apreciación del cine fortalece los estilos de

aprendizaje del estudiante. A través de la motivación, el

análisis y la estética, el estudiante elabora conceptos,

busca significados a nivel audiovisual y experimenta un

goce estético. Además de ello, los fragmentos de películas

propuestos por el docente se integran a su percepción,

permitiéndole entender mejor los diferentes temas

programados en un curso. La principal conclusión a la que

se llegó es que en cualquier escenario donde se desarrolla

una acción ligada al aprendizaje, la apreciación del cine

influye en el estudiante, provocando su entusiasmo por

integrar nuevos conocimientos a sus saberes previos,

impulsándolo a vivir experiencias que, sin dejar de poseer

un espíritu lúdico, le brinden una ‘lección’ o despiertan su

interés por conocer y examinar contextos históricos,

políticos y culturales.

Palabras clave:

____________

Cinema appreciation, learning

styles, motivation, analysis,

aesthetics.

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Eduardo Gutiérrez Salcedo, Valia Luz Venegas Mejía

1. Introduction

Research on the appreciation of cinema as a didactic tool and learning

styles in university higher education is scarce, which reveals that

cinema as a pedagogical resource in the classroom is still a pending

task in the work of professors, who need to be aware of the care

required for this pedagogical practice, since previous skills are needed

to read and interpret cinematographic fiction (knowledge of

audiovisual language, for example).

The evolution of teaching has led different schools of thought and

many academics to develop theories in order to optimally guide this

phase. One of the most valuable approaches in current education is the

cognitive approach, which considers that the student builds his

knowledge from a preliminary practice, from the environment where

he develops his learning and from the exchange of knowledge with the

facilitator.

The use of film as a resource for learning styles is not a new topic.

Previous research shows that film not only serves as a didactic tool to

support academic content, but also has narrative and aesthetic

characteristics capable of generating in students not only

identification and motivation, but also a considerable increase in their

reflective capacity. A fiction can encourage them to assume a critical

position with respect to their environment.

It is common knowledge that the current Peruvian university system

offers students a vast field of knowledge to develop their intellectual

potential hand in hand with new technologies. However, this learning,

which is obtained at a humanistic and scientific level, intimidates a

sector of new entrants due to the academic rigor (reading

requirements, for example) and the lack of connection with the

references that until then characterized their daily lives.

A note that is linked to this problem is in the latest PISA test report

(2018), which states that a difficulty in the way of learning of students

who complete secondary education occurs in the area of textual

comprehension. There it speaks of a deficit in the ability to obtain

specific information from a text, of limitations to relate and elaborate

meanings and to reflect on content. It is unpleasantly surprising that

of the seven levels of reading proficiency performance established in

Film appreciation as a didactic tool and learning styles in students of Communication Sciences at a

public university in Lima

the aforementioned test, Peruvian students who opt for higher

education barely pass the penultimate level.

At the beginning of their university career, shortly after arriving at a

faculty or academic program, some students show interest in their

studies and others -a great majority- must face the learning of subjects

that are taught in a diametrically opposed way to the rhythms,

cadences and demands of the school stage they recently left behind.

These days are marked by a certain uncertainty, which diminishes as

they become aware of the beginning of a professional life project,

accentuated by new routines, academic habits and the integration to

another social circle.

The new student is defined by diverse interests, profiles and

complexities, mostly linked to the Internet and social networks, which

he accesses from a smartphone, allowing him to connect with the

world in real time. With him, the reductionisms associated with the

juxtaposition of black and white are not valid, but rather a scale of

grays that support his heterogeneity, his unique and different status.

Without sufficient psychological maturity, coming from different

economic and social realities (some more complex than others), the

new group of students of the Communication career is diverse, varied,

disparate, with the complexity in teaching that this entails. How to

integrate them in the learning of a subject? What conceptual approach

will allow to have a more or less precise knowledge of such a diverse

audience? What process will be the most adequate to activate

cognitive, metacognitive or affective-motivational variables?

If, as Feldman (2005) says, teaching is linked to a progressive change

in a person's behavior generated by experience, then cinema - a

reference associated with leisure time, but also a powerful means of

communication, capable of generating a more participatory

environment in the classroom - emerges as a valuable didactic tool for

the student to achieve solid learning and, incidentally, to integrate

with enthusiasm into the professional career and undergraduate

courses.

It should not be forgotten that today's students are already familiar

with cinematographic fictions, with the dynamics of their stories, with

their aesthetics and with the fascinating flow of their images and

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Eduardo Gutiérrez Salcedo, Valia Luz Venegas Mejía

sounds. Cinema is, therefore, a necessary resource in today's teaching

because it contributes to raising the student's level of perception and

his or her capacity to exercise critical thinking.

In Peru, the integration of audiovisual support and ICT in the renewal

of university education is key to make the final leap towards

modernity, promoting creativity and innovation of students in the

classroom. This situation remains a challenge for university progress,

since even today, despite having the technological ally (Internet offers

thousands of titles through specialized portals), many educators do

not take advantage of it for lack of time, knowledge or interest.

Films (complete or fragmented) are capable of transmitting

information and knowledge. The stories presented by films in their

fictional aspect constitute one of the few practical approaches that the

student has to complement the theory taught by the teacher. Films

operate as an important pedagogical resource, an ally of the student

and the teacher, from their own language nature, capable of

connecting the senses with the emotions and values that are part of

learning, in addition to generating a more active participation in the

classroom.

In spite of the fact that the media and technological society in which

we live today is prone to audiovisual stimuli, the appreciation of

cinema as a didactic tool has not been explored or exploited in all its

possibilities, it is not widely practiced in undergraduate courses, nor

does it seem to find a place as a methodological proposal in the

treatment of learning styles when reviewing the syllabi of the various

subjects that make up the curricula of university careers.

This paper aims to show, with simple concepts, how film appreciation

used as a didactic tool (through complete or fragmented films), can

help undergraduate students in the development of their learning

styles. Research in this field can be useful to continue insisting on

modifying the traditional teaching system and offer an interesting and

motivating option to the undergraduate student. It also seeks to verify

how students strengthen their learning styles through the appreciation

of film as a mediating entity and valuable pedagogical resource that

awakens their interest and motivation in the classroom. In addition, it

wants to verify their predisposition to access new knowledge, without

losing sight of the teacher who accompanies the student not only in

Film appreciation as a didactic tool and learning styles in students of Communication Sciences at a

public university in Lima

acquiring it, but also guiding him in his transformation from a passive

subject (within the university classroom) into an active subject,

conscious of achieving the learning objective.

2. Methodology

The approach is mixed, defined by Hernandez (2010) as "the

systematic integration of quantitative and qualitative methods in a

single study in order to obtain a more complete 'photograph' of the

phenomenon, and points out that these can be combined in such a way

that the quantitative and qualitative approaches retain their original

structures and procedures".

In terms of scope, it is an explanatory type of research that is interested

in answering why a phenomenon occurs and under what conditions it

manifests itself or why two variables such as those of this research are

related. In addition, it is explanatory because it aims to provide

answers that contribute to solve a specific phenomenon in a given

space and time.

It is a sequential transformational design: the dimensions of the first

variable are basically measured by applying a questionnaire and then,

in order to collect complementary qualitative information, a focus

group is applied.

The population consisted of 520 students enrolled in the School of

Communication Sciences of a public university in Lima, from

socioeconomic sectors B, C and D, and whose ages ranged between 18

and 23 years, 48% female and 52% male.

The sample was of 300 students and the criteria for its conformation

were the following: to be a student of the Faculty of Communication

Sciences and to be enrolled in the 2019-II semester.

The technique chosen was the survey and the instrument applied was

the questionnaire. Two questionnaires were elaborated, the first one

corresponds to the variable 'appreciation of cinema as a didactic tool'

and consists of 15 items according to the indicators and dimensions

evaluated (motivation, analysis and aesthetics); the second one -an

adaptation of the form devised by Honey and Alonso- corresponds to

the variable 'learning styles' and consists of 80 items according to the

indicators and dimensions evaluated (active, reflective, theoretical and

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Eduardo Gutiérrez Salcedo, Valia Luz Venegas Mejía

pragmatic). In addition, this research complements the information

gathered through a focus group, an instrument that studies the

opinions or attitudes of a specific audience.

4. Results and discussion

In relation to the appreciation of cinema as a didactic tool, the

information was organized by dimensions such as: motivation,

analysis and aesthetics, from which the following results were

obtained:

About motivation. Cinema motivates at a discursive level, has an

impact as an audiovisual story and provides a high degree of

entertainment. In addition, it has a humanistic message that generates

emotion. This motivational capacity extends beyond the academic

sphere, and has repercussions on a spiritual and experiential level, in

a sort of panoramic and rich vision of life itself. Through the content

of a film, the way it is narrated and the acting performance, the student

becomes enthralled with transcendental characters who struggle

against adversity to achieve their goals. The student empathizes with

biographical trajectories. They are fictions that acquire the status of

'life lessons'. A film awakens the student's interest and curiosity, allows

him to learn about the psychology of a character and the social context

in which he moves; it broadens his vision of history and of societies he

does not know. Film motivates him to want to learn more about related

professional disciplines (such as psychology) and other social

environments.

About analysis. A film presents facts and allows the student to

elaborate concepts without the need to delve into theories. Films serve

to assume a point of view; meaning is obtained through analysis. There

is not only one way to watch a film; not everyone has the same

perception. The exchange of opinions enriches this perception. The

dramatic content, the narrative scheme and the stylistic finish of a film

allow the student to discover its meaning. This discovery is renewed

and prolonged when he integrates new films into his perception, which

allows him a constant exercise of appreciation, in addition to assuming

a critical stance and a vision of the facts. The film generates an

Film appreciation as a didactic tool and learning styles in students of Communication Sciences at a

public university in Lima

awareness in the student, leading him to adopt a reflective position.

The analysis is produced from the actions that the protagonist or the

main characters perform throughout the film, so that the student's

perception is subordinated to these actions that have sociopolitical

contexts as a backdrop.

In relation to aesthetics. Whether they are 'ugly' or 'beautiful' images,

cinema moves and is perceived by students as an artistic expression.

Aesthetic enjoyment is conditioned by the content of the film and the

state of mind when appreciating it. Some qualify their perceptive

experience as an 'explosion of the senses', to which the performance of

the protagonist, the photographic work and the use of music

contribute. An image may convey a sense of sadness and desolation,

but it is its formal construction (sound and visual) that generates

aesthetic enjoyment. The same is true of warm, sweetened, 'pretty'

images or those that lean towards the 'aesthetics of the grotesque'; it is

their 'unreal touch wrapped in fantasy' that captivates. The students

are captivated by the colors and the photographic register, by the

treatment of the music (associated with 'climatic moments' of the film)

and by the work of the actors; the whole in harmony provokes a

transcendental sensation in them. It seems to them that the most

moving thing on an aesthetic level is when the director does not

underestimate the viewer and builds a film with subtlety.

On the other hand, based on the theory, the information on learning

styles was organized into: active, reflective, theoretical and pragmatic

according to the learning styles questionnaire proposal of (Alonso &

Gallego, 2000).

In relation to the Active learning style. The student acts freely and

assumes life without too many formalisms. This way of behaving is

generated on the mental level (preference for original and novel ideas,

even if they are not practical) and derives from active listening rather

than verbal exchange. He is bored by methodical works that demand a

detailed finish. He expresses a preference for what is current, and

better if the temporal anchorage is wrapped in a technological mantle.

He is attracted to parties without limits. He thinks it is better to enjoy

the present time than to delight in remembering the past or planning

for the future. His attitude confirms that the time he lives is ephemeral,

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Eduardo Gutiérrez Salcedo, Valia Luz Venegas Mejía

fleeting. The transcendental happens here and now.

In relation to the Reflective learning style. The student researches

various sources before performing an academic task. Bibliographic

consultations go through the filter of their interpretation before

arriving at a result. Caution guides his deductions. He needs to gather

a lot of data to analyze a subject. He takes distance from the facts to

observe them and make a value judgment. He enjoys preparing a work

with time and carrying it out conscientiously. You find deadlines

overwhelming and are annoyed by people who rush you in the

achievement of your objectives. You are a perfectionist, you make

drafts before the final draft of a document. You are satisfied with

working conscientiously.

In relation to the Theoretical learning style. The student solves

problems following a rational procedure that allows him to reach an

objective. He tends to be a perfectionist and often detects gaps and

weak points in the explanations of others. He does not let himself be

guided by assertions; he tries to discover the principles and theories

on which they are based. His work is orderly and methodical. He

prefers a time for everything, an order or 'structure', rather than

disorder or the seduction of chaos. Such a system helps him to organize

his academic life, as well as to satisfy basic needs (eating, exercising,

sleeping). This is in addition to the recreation time (researching on the

Internet, watching movies) that he sets up at will.

In relation to the Pragmatic learning style. The student expresses his

ideas clearly and without beating around the bush. Characterized by

getting straight to the point in a discussion. Takes on a debate head-

on and never goes off the deep end. They get impatient when they are

given irrelevant, incoherent and inconsistent explanations. He does

not allow digressions, nor does he 'theorize' before issuing a response.

He prefers to concentrate on practical matters, on what is useful or

generates material benefits: listening to an idea and thinking about

how to put it into practice in order to obtain benefits of various kinds.

This 'practicality' is also reflected in personal relationships, which

motivates him to establish bonds with 'realistic' and 'concrete'

individuals.

Film appreciation as a didactic tool and learning styles in students of Communication Sciences at a

public university in Lima

Regarding the discussion of results related to the appreciation of

cinema as a didactic tool, we can highlight that, in relation to

motivation, the results show that cinema motivates students in their

learning and influences their development as human beings. The focus

group reveals that cinema awakens interest and curiosity, facilitates

the assimilation of content, motivates to know the psychology of a

character and the social context in which he moves, broadens the

vision of history and social environments that are not known. This

research finds that motivation also allows students to empathize with

the trajectories they see on the screen and to follow with interest the

life course of a character, observing with attention his drift, his

constant transit or his race to nowhere; fictions acquire the status of

'life lessons', loaded with a motivational component.

Regarding analysis, the results show that when watching a film, the

student elaborates concepts without the need to delve into theories; it

is a construction of meaning that, as Pulecio (2008) states, "is revealed

at the first glance, it is personal and the student builds it through the

perceptive exercise". Films allow him to assume a point of view, to

wield arguments, to find meanings through analysis, employing the

"subjectivity of the observer". Likewise, the way a film is constructed

and its generic affiliation (drama, horror, comedy) is what allows the

student to analyze, discover meanings and generate meaning, in

addition to assuming a critical stance. The analysis focused on cinema

as an 'autonomous universe' has description and interpretation as its

main tools and the components of cinematographic language (visual,

sound, syntactic codes) as the objectives to be examined.

Regarding aesthetics, the student understands cinema as an artistic

expression, aligned with the concept pointed out by Aumont (1985):

"aesthetics encompasses the reflection of the phenomena of

signification considered as artistic phenomena, it studies cinema as art

and films as artistic messages". The student is able to discern between

'beautiful' or 'ugly' images, typical of a cinematographic fiction,

establishing an emotional link with them, and expanding the

conceptual sphere that links aesthetics to the 'beautiful', assuming

other categories present in the plastic arts, which boast transgressive,

pretentious and 'bad taste' components, and which are found in filmic

narratives built with dirty, rough textures, typical of an 'ugly' or

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Eduardo Gutiérrez Salcedo, Valia Luz Venegas Mejía

'negative beauty' aesthetics. The student believes that aesthetic

enjoyment is conditioned to the content of the film and to his state of

mind when appreciating it, a perceptive experience that is qualified as

an 'explosion of the senses' and that is assumed as an experiential

activity and celebration of the 'subjective gaze'.

Regarding the discussion of the results on learning styles, we can

highlight that, in relation to the active learning style, the results show

that a majority of students exploit their innovative capacity, show

flexibility when facing a didactic process and assume life without too

many formalisms. Intuition drives them to understand a thematic

content quickly and to perceive a foreign idea clearly, but they must

make an effort to rationalize such thinking and organize it in a

methodical work that demands a detailed finish. Perhaps his ideology

is not based on a partisan creed or he does not seek shelter on opposite

sides -right or left- of the old political spectrum, but he is questioning

and usually expresses his feelings openly. The attitude of feeling fully

free guides his steps and he is always ready to "assimilate information

and turn the learning experience into a constant challenge" (Lockitt,

1999).

Regarding the reflective learning style, the results show that most of

them reflect before doing or saying something. The student researches

several bibliographic sources before carrying out any academic task or

written document; he gathers a lot of data in the previous stage of the

analysis of a subject and -as if it were a polyhedral look, full of

intellectual curiosity- in his readings he deploys a filter of

interpretation before arriving at a result. He is cautious and takes a

distance from a specific fact in order to observe it better and make a

value judgment. In this regard, he follows the path of "reflective

observation that allows him to reason about various phenomena and

observe them from multiple perspectives" (Pezo, 2017).

Regarding the theoretical learning style, the student is attracted to

dual cognitive operations (representation and interpretation), through

which he tries to discover the value system that governs the lives of

others and the criteria that drive his relationship with the world. He

finds it difficult to be creative, impulsive and to live without purpose

or perspective about his future. He avoids ambiguity, expresses his

Film appreciation as a didactic tool and learning styles in students of Communication Sciences at a

public university in Lima

ideas clearly and moves around the theory contained in books. He

solves problems following a rational procedure that allows him to

achieve his goals. He tends to be a perfectionist and often detects

inconsistencies and weak points in the arguments of others. He does

not allow himself to be guided by the assertions of others; he tries to

discover principles and theories from their basic formulation. His

academic work conforms to an order and is disciplined in the

fulfillment of academic tasks.

Regarding the pragmatic learning style, the results show that a large

sector of students want things to work. Functional in this case is

associated with what is useful, practical and beneficial, in a range that

covers various aspects of their daily lives (political, economic, social,

etc.). And if the system in which he operates fails, he does not hesitate

to express his discomfort clearly and bluntly, with arguments that go

straight to the point, arguing head on. He also gets impatient when the

interlocutor of the moment offers irrelevant explanations or when the

opponent in a debate goes off the deep end with some incoherent

soliloquy. He does not admit digressions, nor does he 'theorize' before

issuing a response. "His beliefs, expectations and attitudes condition

his verbal statements, his behavior and the way he acts" (Woolfolk,

1999).

5. Conclusion

Film appreciation is developed as a didactic tool that integrates

naturally into the styles that characterize the student's learning,

motivating his free and unrestricted response, awakening his curiosity

or internal questioning (mental, spiritual), encouraging a search for

logical and rational solutions. A film also generates ideas without

formal limitation and pragmatic expressions that celebrate the

subjective gaze. In any scenario where an action linked to learning

takes place, the appreciation of film influences the student, provoking

his enthusiasm to integrate new knowledge to his previous knowledge,

encouraging him to live experiences that, while still having a playful

spirit, provide him with a 'lesson' or awaken his interest in analyzing

historical, socio-political and cultural contexts. A film stimulates him

to elaborate concepts and search for meanings at the audiovisual level,

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Eduardo Gutiérrez Salcedo, Valia Luz Venegas Mejía

perceiving cinematographic fiction as an artistic expression and basing

the aesthetic enjoyment that comes from appreciating it.

Film appreciation motivates students in their learning and influences

their development as human beings. In addition to facilitating the

assimilation of theoretical content, film awakens their interest and

curiosity for subjects that, at first glance, seem difficult; it brings them

closer to social, cultural and historical contexts that in the classroom

can only be recreated through cinematographic fiction; it allows them

to adopt a point of view, wield arguments, discover meanings through

analysis and generate meaning, in addition to assuming a critical

stance. The student understands film as an artistic expression that has

a spectacular and fun side, as an experiential activity that allows him

to give free rein to his perception and subjectivity. The film work is a

promoter of a singular 'enjoyment' and can act as a mediating entity in

the achievement of meaningful learning.

Today's students move on the margins of a range of styles that typify

their way of learning. For some, intuition is the driving force that

allows them to understand a certain thematic line or the content of a

course with certain ease; for others, a concrete methodology of

analysis prevails, supported by a sharp and consistent observation and

a solid level of reflection; while one sector avoids ambiguity,

expressing their ideas clearly and moving around the theory contained

in books or solving problems according to a procedural order and

meticulous work that allows them to achieve their objectives; another

group is attracted by experimentation and is enthusiastic about

technological novelty, their rebellious attitude and their eagerness to

live in the present condition their verbal expressions, their behavior

and their way of acting in public.

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