HYBRIDIZATION BETWEEN MEDIA EDUCATION AND VISUAL ARTS EDUCATION - MIYAZAKI'S CINEMA AS A REVULSIVE - Part 4 - Issue 4 - 2011

Oct 15, 2026

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This article explores a proposed link between media education and visual arts education, arguing that primary teachers can interpret media as visual artefacts while using visual arts training to analyze them. The study focuses on a student teachers’ group and assesses their knowledge of cinema as a visual culture text, aiming to expand media presence in art education and encourage critical, personal readings over entertainment. It analyzes how the film Ponyo on the Cliff by the Sea supports ecology, media education, and communication mechanisms in primary classrooms, especially amid Fukushima and natural disaster imagery.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages12

Reading Time30 min

AccessFree to download

Introduction: Natural phenomena and premonitions from visual arts

Cartoon and cinema in Secondary School; training teachers art education in Primary School

Volume 4, Number 4, 2011 HYBRIDIZATION BETWEEN MEDIA EDUCATION AND VISUAL ARTS EDUCATION. MIYAZAKI'S CINEMA AS A REVULSIVE Ricard Huerta Abstract: In this article we suggest an approximation between media education and visual arts education. Teachers of Primary School interpret the media as a visual artefacts. But this visual artifacts can be analyzed from the education in visual arts. We can offer a suitable formation in the moment on training teachers (Clarembeaux, 2010; Huerta, 2005), but is also necessary move a notion of visual arts. Now, in Spain, visual arts education is far from the media images. We would incorporate the media education in the Primary School curriculum from the visual arts education (Hernández, 2000; Huerta, 2009) . We focuses this research in a case of student’s group. They are university training teachers, and we verify their knowledge about cinema and media as a visual culture texts, promoting a major presence of media in visual arts, extending the field of action, and promoting the use of the cinema as useful tool in the Primary School classes. We encourage teachers and students towards the critical and personal readings in media, reforcing knowledge and analysis more than entertainment (Ambrós & Breu, 2007; Fedorov, 2010) . For analyze this situation we have chosen the movie Ponyo on the Cliff by the Sea, a film by Hayao Miyazaki. Key words: Art education, media education, cinema, creativity, training teachers. 1. Introduction: Natural phenomena and premonitions from visual arts. This article purposes an approximation to the cinema of the Japanese director Hayao Miyazaki, and his application for training teacher studies. We consider specially useful the movie Ponyo at the Cliff by the Sea (Miyazaki, 2008) . We want investigate the interest for the cinema in the main futures teachers for Primary School. The film Ponyo was advanced to a polemic that nowadays is of current importance in the media: the negative results have for the natural environment when the atomic power is used, and his later traumatic effect for Humanity. An earthquake and a tsunami destroyed the North of Japan in March 2011. They have provoked a natural disaster, and also a world debate concerning about the nuclear power stations, due to the doubts that this type of energy and his probable toxicity can generate in people. The debate on the atomic power has extended in the world. Now, it isn’t an ideological problem. In this moment, the whole world agrees that this type of energy can result dangerous, and his control is very difficult. The images of the damaged reactors of Fukushima's nuclear power station have given around the world, basically across the media. The radioactive escapes of Fukushima have unleashed an ecological and media impact, but the most impressive: there had been reflected early by the movie Gake no ue no Ponyo (崖の上のポニョ), a film by Hayao Miyazaki. This film served us to introduce in our visual art classes any different aspects as ecology, media education and communication mechanisms. s important to use the cinema as a curriculum element for art education, I think. Art teacher depends on technological images and media images in general. The most important moment to introduce this type of educational strategies is the initial courses for training teachers. The polemics on the nuclear power stations does not live from the ideological or political positions, but from the record of security. Obsessive security questions are now a very interesting aspect, specially in cultural ambiences in western countries, after the 2001 September 11th, in New York. These questions are treating commonly in the university classes of Sociology, History, and Anthropology. But we think that they are questions also suitable to approach, in a transverse way, in the training teachers' university education. These topics must be present in the classes of visual arts education. Catastrophe’s images are a crucial aspe

FAQs

How does the article connect media education with visual arts education in teacher training?

It proposes that primary teachers interpret media as visual artefacts and that visual-arts training enables analysis. The article highlights teacher formation and a needed shift in how visual arts notions are treated within media education.

Which film is used as the main case for analysis and classroom application?

The article uses Hayao Miyazaki’s Ponyo on the Cliff by the Sea (also referring to Gake no ue no Ponyo) to introduce ecology, media education, and communication mechanisms in visual art classes.

What role do Fukushima-related catastrophe images play in the argument?

Catastrophe images are described as crucial for communicative study of news and as elements people remember. The article links Fukushima imagery and nuclear debate to media impacts and to how cinema can generate an informed, imaginative perspective on such issues.

Oct 15, 2026

Uploaded by Putri