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MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices the effort by the deaf to speak and sing, reinforces the idea of normalizing the deaf by making them reproduce the hearing culture. The movie Beyond Silence, directed by Caroline Link, narrates the relationship between a deaf father and a hearing daughter. It deals with the conflict stemming from the daughter’s interest on learning the clarinet. As the hearing daughter prepares to be a professional, her father feels excluded from the musical world. In one of the most dramatic scenes, the father tries to get closer to this sonant universe and asks his daughter what is the sound of snow. In fact, the deaf sounds cape involves differences between groups, cultures and identities. In the movie Mr. Holland’s Opus, by Stephen Herek, Holland, played by Richard Dreyfuss, is a piano teacher who finds out that his baby son is deaf. Some of the narrative’s turning points are characterized by the difference between deafness and sound. For the father, his son cannot share the musical universe, prevented by his deafness. In one of the most dramatic scenes, when the father feels deeply saddened by news about John Lennon’s death, the stereotypes crumble down. The news makes an impact on the teacher, but he believes that his son is unable to grasp the historical and artistic relevance of the fact. On the contrary, during a discussion, his son confronts him by asserting that he understands John Lennon’s relevance as well as his music and that he is not alienated from the universe of sound. The story changes from this point onwards. By the end of it, Richard Dreyfuss conducts an adapted concert for the deaf, using a light scheme as an aid to show rhythm changes in the music. The idea that the deaf is not interested on sound is usually based on two points of view. One is that they cannot be interested as they are unable to hear, rendering sound useless.The other is that the deaf need to preserve their identity and once sound is implicated on speech, which represents an attitude of normalization of deafness by the society towards the deaf community. The, then, idea arises that the deaf tend to ignore sound. Haguiara-Cervellini (2003), on his investigation of how music affects deafness identified that the deaf express their musical tastes and, while doing it, affirm their right to perceive sound. The sound and deafness matter reveals more than tastes, as it is relevant on a space of conflict between the idea of normalization and deaf identity. While investigating the audiovisual production of deaf youngsters, Gutierrez (2011) identified that the deaf make use of sounds. Their sound selection is associated to a need of producing a message that is accessible to the hearing, as they intend for their messages to reach everyone and be more attractive and accommodating for the hearing. In this research project, the deaf participants created a news telecast named O Jornal dos surdos (The Deaf News). Results indicate that all seven participants wished to deal with sound. Of all the youngsters with different degrees of deafness, only one participant with profound neurosensory bilateral deafness manifested an interest on feeling the vibration of the sound selected by the editor. The research did not investigate 131
MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices the effects of the vibration, but its relevance is on indicating that the vibration could be yet another key element for visual elaboration. (Gutierrez: 2011). Christie, Durr and Wilkins (2006) wrote an article about deaf filmmakers’ productions based in a movement created in 1989 by a group of deaf artists, Deaf View/Image Art (De’VIA). The movement defends an art form based on the visual experience of the deaf, person of the eyes. For the movement, the entire artistic production of the deaf is based on deaf culture. The authors analyzed a film festival using the following question: how do the deaf utilize the means to communicate themes, discursive formats and a visual aesthetics? Among the films, Paper Airplane, 14min, by Adrean Mangiardi 1 (USA; RIT SoFA) showed a visual representation of sound. In the deaf director’s viewpoint, sound has a visible form. However, our results point out to a different path in this relationship between sound, deafness and audiovisual: the vibration of sound. Believing that the deaf perceive sound through vibration, we have investigated in which measure this element that is felt by the body constitutes an audiovisual kind of perception for people with profound deafness in an entertainment context as well as an interface between entertainment and education. 3. Audiovisual on education Image and sound are strongly present today. Both elements are embedded in our daily lives so as to generate new ways of living, feeling, learning and teaching. The juxtaposition of image and sound is capable of giving meaning to the world and directing our gaze, as a window to new sensations, to an audiovisual gaze. On the educational spaces, audiovisual manifests itself in different formats and languages: video classes, educational films, documentaries, fiction films, television shows. The idea of using audiovisual as a tool is very present in the daily activities of a scholars the only alternative for this form of expression. In this work, we seek to overcome this reductionist conception, as there is a wider and more complex field of possibilities out there. Using education for media as a support, we have captured the conception of audiovisual as a study object with an emphasis on sound, the musical form, as a key element of entertainment and production of pleasurable sensations on reception. Some authors have aided us in ransoming the importance of dealing with audiovisual in an educational context, in its more attractive dimension (Carneiro: 1999: 2005; Gonnet: 2004; Moran: 2000). Gutiérrez (2003) and Porto (2003) emphasize that communication media afford the subject with a relationship of meaning, affection and cognition. Babin (1989) states that the audiovisual awakens our senses, brings about our sensitivity and sharpens intuition. Aguaded (2001, p.20) discusses the rights of youngsters to experience audiovisual in that dimension: “la finalidad de educación en medios 11 Rit’s School of Animation and Film. Rochester, NY. 132
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