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  • An Interdisciplinary Proposal for Employing Film to Release the Imaginations of Preservice Teachers
  • Haroldo Abraam Fontaine (bio)

Introduction

Questions regarding the proper role of the arts in education have occupied many thinkers throughout the ages, no less than the likes of Plato and Rousseau. Like them, several have argued that paintings, for example, are mere re-presentations of and certainly not, to borrow a term from Kant, the "thing-in-itself." From a Platonic and Rousseauian perspective, those who behold images and conclude that the "thing-in-itself" (on all occasions) and its rendition on canvas in sundry lines and colors are indistinguishable—indeed, they cannot be—would be led astray from the truth in pursuit of shadows, or worse still, would contribute to the moral collapse of the polis. Yet, that's what I propose in this essay. More precisely, I want to reject Plato's claim that art is imitation of what is. Like Parmenides before me, I argue that his heroic pursuit of the form of the Good depends on a set of unproven assumptions concealed in the cloak of an infinite regress. In the absence of such an unhypothetical first principle—and the cornerstone of the Republic—Plato's lofty fortress collapses, and we are left to our Sisyphean tasks, yet hopeful in the power of our imaginations to set us free to pursue our self-appointed ends. Indeed, imagination's province is the arts, now emancipated from mere imitation and free to lay claim to what is. To their company the twentieth century added the cinema, which soars from the Republic's rubble and steads the identity-constructing enterprise in a manner without historical precedent, thus becoming a legitimate object of rational analysis regarding the "reminiscences of the suffering and … complaints" of the downtrodden.1 For reasons I will discuss below, professors [End Page 58] of education should help preservice teachers to develop their skills and capacities to support such analysis, lest the latter's future students assimilate images uncritically at their peril.

The Arts, Unleashed

Plato's theory of Forms is arguably the lynchpin of his metaphysical vision. As I understand it, the Good is the fundamental (ethical) principle toward which all social activity points, including education. Given the ethical nature of the Good, education is necessarily character education, in which the student's rational moral personality, and hence his felicity, is fashioned accordingly. As such, a student's (and a city's) success depends on his or her rational insight into the true nature and scale of the Good—that is, s/he must be able to distinguish between the apparent and the real. At these extremes lie national dissolution on the one hand, and the nation's integrity on the other.

At the pinnacle of Plato's city sit the philosopher-kings, who administer justice in conformity with the Good. Having transcended the supposed illusions of the physical world, they are said to commune with the Forms directly. The Good, Plato might say, is the Form in, of, and by which all other forms participate. Socrates's (or rather Plato's, or is it Socrates's, or is it Plato's …) method is "to set down some one particular form for each of the particular 'manys' to which we apply the same name,"2 for example, "tree." The form, or rather the universal, precedes and is the metaphysical pattern after which the "manys"—that is, the particulars—are fashioned. What, then, is it that the philosopher-kings commune with? What treeness, if you will, is it that the many trees participate in? Enter Parmenides' twofold objection.

In his article on Plato in the 2004 edition of the Encyclopedia Britannica, Jonathan Barnes noted:

(Plato's) doctrine of participation … does not really reconcile unity with plurality since it leads to a perpetual regress. It says that the many things that have a common predicate, or characteristic, participate in, or imitate, a single Form. But the Form itself also admits of a common predicate, and therefore a second Form must exist, participated in alike by the sensible things and the first Form, and so on, endlessly. Second, a graver difficulty is that the relations between...

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