<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1982-7806</journal-id>
<journal-title><![CDATA[Cadernos de História da Educação]]></journal-title>
<abbrev-journal-title><![CDATA[Cad. Hist. Educ.]]></abbrev-journal-title>
<issn>1982-7806</issn>
<publisher>
<publisher-name><![CDATA[EDUFU - Editora da Universidade Federal de Uberlândia]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1982-78062023000100037</article-id>
<article-id pub-id-type="doi">10.14393/che-v22-2023-165</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Cinema educativo entre o documentário e a ficção]]></article-title>
<article-title xml:lang="es"><![CDATA[El cine educativo entre el documental y la ficción]]></article-title>
<article-title xml:lang="en"><![CDATA[Educational cinema between documentary and fiction]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Paulilo]]></surname>
<given-names><![CDATA[André Luiz]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Trevisan]]></surname>
<given-names><![CDATA[Anderson Ricardo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Estadual de Campinas  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Estadual de Campinas  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<volume>22</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S1982-78062023000100037&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S1982-78062023000100037&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S1982-78062023000100037&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O cinema educativo foi experiência efêmera na história da cinematografia brasileira, mas fundamental à compreensão, senão dos primórdios das políticas para o setor no país, ao menos, de um capítulo fundamental das práticas de filmagem dos diretores. Da fronteira entre a ficção e o documentário e entre a política de patrocínio público e a criação autoral, o presente ensaio pretende explorar esse já bem cuidado tema da historiografia que é o cinema educativo. A partir de revisão bibliográfica, pesquisa documental e fílmica, e amparado numa bibliografia interdisciplinar que se assenta primordialmente na História Cultural e na Sociologia da Cultura, o principal escopo do artigo foi relacionar as produções dirigidas por Humberto Mauro no INCE ao ambiente de discussão das políticas de controle do cinema nos anos 1930. Pareceu-nos fundamental a esse exercício de interpretação também considerar os diferentes itinerários do cinema no debate público dos anos 1920 e 1930, uma vez que se toma por hipótese aqui que Humberto Mauro foi um realizador capaz de embaçar as fronteiras entre o ficcional e o documentário, entre o comercial e o educativo, o que o torna personalidade singular nessa história.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El cine educativo fue una experiencia efímera en la historia de la cinematografía brasileña, pero fundamental para la comprensión, si no de los inicios de las políticas para el sector en el país, al menos, de un capítulo fundamental de las prácticas cinematográficas de los directores. Desde la frontera entre la ficción y el documental, y entre las políticas de mecenazgo público y la creación autoral, este ensayo pretende explorar este tema ya bien cuidado en la historiografía, que es el cine educativo. A partir de una revisión bibliográfica, investigación documental y fílmica, y apoyado en una bibliografía interdisciplinaria basada principalmente en la Historia Cultural y la Sociología de la Cultura, el alcance principal del artículo fue relacionar las producciones dirigidas por Humberto Mauro en el INCE con la discusión de las políticas de control del cine en la década de 1930. Ha parecido fundamental para este ejercicio de interpretación considerar también los diferentes itinerarios del cine en el debate público de los años 20 y 30, ya que se plantea aquí la hipótesis de que Humberto Mauro fue un cineasta capaz de difuminar las fronteras entre lo ficticio y lo documental, entre lo comercial y lo educativo, lo que le convierte en una personalidad singular en esta historia.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Educational cinema was an ephemeral experience in the history of Brazilian cinematography, but it was fundamental to understand, if not the beginnings of the policies for the sector in the country, at least, a fundamental chapter in the filmmaking practices of the directors. From the frontier between fiction and documentary, and between the politics of public sponsorship and authorial creation, the present essay intends to explore this already well worked for theme in historiography that is educational cinema. Based on a bibliographical review, documentary and film research, and supported by an interdisciplinary bibliography based primarily on Cultural History and Sociology of Culture, the main scope of the article is to relate the productions directed by Humberto Mauro at the INCE to the discussion of cinema control policies in the 1930s. It seemed to us fundamental to this exercise of interpretation to also consider the different itineraries of cinema in the public debate of the 1920s and 1930s, since it is hypothesized here that Humberto Mauro was a director capable of blurring the boundaries between the fictional and the documentary, between the commercial and the educational, what makes him a singular personality in this history.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Cinema Educativo]]></kwd>
<kwd lng="pt"><![CDATA[Documentário]]></kwd>
<kwd lng="pt"><![CDATA[Humberto Mauro]]></kwd>
<kwd lng="es"><![CDATA[Cine educativo]]></kwd>
<kwd lng="es"><![CDATA[Documental]]></kwd>
<kwd lng="es"><![CDATA[Humberto Mauro]]></kwd>
<kwd lng="en"><![CDATA[Educational cinema]]></kwd>
<kwd lng="en"><![CDATA[Documentary]]></kwd>
<kwd lng="en"><![CDATA[Humberto Mauro]]></kwd>
</kwd-group>
</article-meta>
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