This study aims to analyze discourses about childhood and the child’s protagonists in
the movies Menino de Engenho (Brazil, 1966, Walter Lima Jr.), O Meu pé de Laranja
Lima (Brazil, 1970, Aurélio Teixeira) and, Capitães da Areia (Brazil, 2011, Célia
Amado), in whose center of the problem lies in the fact of how the childhood and the
child’s cultural practices has been presented in these films productions e the
relations stablish with conceptions instituted in society. The movies are a cultural
system, once that’s possible, by the multiple voices caught in the film, the interaction
between individual consciences, for having ideological form and content that is
processed from specific fields and in multiple discourses, to be observed, within the
process of communication, as signs. Further than that, it demarcates its field as a rich
and propitious source for the historian and other researches, because it’s capable not
only of telling a story, but of problematizing reality, which ensures its merit as a
childhood’s research field. Thus, the following specific objectives were defined for
this study: 1) to unveil the present and/or absents discourses that can point the
possible senses and the meaning of childhood (re)produced in the selected films; 2)
to problematize about the conceptions of childhood present in our society and that
are re-treated in the investigated films; 3) to reflect about the aspects related to
education and the ways of being a child present in the films studied. In order to do
so, this study follows the descriptive and analytical study’s lines, with a qualitative
approach, using bibliographical and documentary research, with dialogues anchored
in the Bakhtin studies and authors from the childhood and history’s fields in a
sociological, historical and cultural perspective. Our analyses were guided, from
three areas: Conceptions of childhood, Cultures for children and Education. From
these, it was possible to perceive the strong influence of conceptions, social
practices and educational aspects that accompany the historical trajectory of
childhood, and the diverse forms that reproduce in social practices and relations. The
results also pointed that studying the childhood through film encourages us to be
“others”, once it allows us to become new men, since the conception of time is
connect to the man’s conception, and that although all artistic creation is impregnated
with fictionality, it does not cease to dialogue with the reality traced in us, capable of
projecting us to other already existing realities and others that are yet to come.
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