Difference between revisions of "Kindergarten Erster Schultag (LFS01413 5)"

 
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|lieuTournage=49.23607, 8.45673
 
|lieuTournage=49.23607, 8.45673
 
|thematique=Identity@ Traditions
 
|thematique=Identity@ Traditions
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|Resume_de=Alltag im Kindergarten und Einschulung.
 
|Resume_en=Daily Life in a Kindergarten in Philippsburg and first day of School.
 
|Resume_en=Daily Life in a Kindergarten in Philippsburg and first day of School.
|Resume_de=Alltag im Kindergarten und Einschulung.
 
 
|Description_de=Alltag in einem Kindergarten in Philippsburg und die Einschulung der Kinder.
 
|Description_de=Alltag in einem Kindergarten in Philippsburg und die Einschulung der Kinder.
|Contexte_et_analyse_en=They walk, sand, swing. There is hardly any peace in these film pictures from the St. Francis kindergarten in Philippsburg. The children are constantly on the move, be it slower or faster. And if they just sit or stand it is only a short pause - or the irritation of the presence of a film camera, in which they look lost in thought.
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|Contexte_et_analyse_fr=Ils courent, jouent dans le bac à sable, se balancent. Le calme n’est jamais de mise dans ces images du jardin d’enfants Saint-François à Philippsburg. Les enfants sont en mouvement constant, que ce soit de manière lente ou rapide. Et s’ils se contentent de s’asseoir ou de se tenir debout, ce n’est qu’une courte pause — ou la curiosité causée par la présence d’une caméra, qu’ils fixent perdus dans leurs pensées.
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En 1957, année de la réalisation de ce film amateur, on discute beaucoup de l’orientation à donner à l’éducation des tout-petits dans l’enseignement public. La mission du jardin d’enfants est essentiellement pédagogique, indique un rapport du Comité pour l’éducation et à l’enseignement de la même année. La conception antérieure du jardin d’enfants en tant que simple établissement de garde s’oppose à cette focalisation croissante sur le potentiel d’apprentissage et le talent de l’enfant. Les organisations ecclésiastiques et confessionnelles restent pourtant attachées à cette conception un peu passive. Et par là même à une idée bourgeoise de la famille, dans laquelle l’instruction publique des tout-petits se réduit à un établissement d’assistance sociale pour les familles dont la mère travaille. Le tout s’inscrit dans le contexte de la pédagogie de la petite enfance développée par Friedrich Fröbel, inventeur du jardin d’enfants au XIXe siècle, pour qui cette nouvelle institution devait cultiver l’esprit ludique et faire la part belle aux jeux pédagogiques (qu’il appelle « Spielgaben », littéralement « dons à jouer »). 
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Les images filmées dans la cour de la maternelle semblent vouloir illustrer l’hypothèse de Froebel sur l’influence éducative du jeu. D’abord groupés contre un mur à l’arrière-plan, les enfants se mettent à courir, tandis qu’une petite fille à l’avant regarde la caméra d’un air surpris. Désormais, cette caméra capte les mouvements des enfants et les montre par le biais du montage comme un flux continu au sein duquel le jeu lui-même se joue. Le mouvement s’ouvre sur l’espace de la cour tandis que les enfants courent autour du bac à sable, puis se resserre lorsqu’ils se pressent dans le même bac à sable, pelle à la main. Un panoramique les montre absorbés par le jeu, puis se rapproche jusqu’à ce que certaines petites filles en gros plan fixent la caméra et arrêtent de jouer pendant quelques secondes. Des images qui permettent au film de se figer çà et là sur des petits portraits, avant de reprendre son mouvement continu.  
  
In 1957, the year in which this amateur film was shot, it was once again debated how to orient early childhood education in the public domain. The task of the kindergarten is determined essentially pedagogically, so it is called in an opinion of the committee for the education and training of the same year. Against this increasing emphasis on the learning potential and the talent of the child was the old idea of ​​kindergarten as a mere custodial institution. The ecclesiastical-confessional bearers continued to stick to this contemplative picture. And thus a bourgeois idea of ​​the family, with the public toddler education was reduced to a care institution for families in which the mother was working. In the background was the infant education of Friedrich Froebel, the founder of the kindergarten in the 19th century, who saw the goal of the new facility in the maintenance of the game and in an order of offering games to educate.
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Tout est sur un pied d’égalité dans l’espace visuel où s’inscrivent les mouvements : non seulement le bac à sable au premier plan, qui attire l’attention, mais aussi la balançoire surchargée qui tourne à l’arrière-plan et va ensuite devenir le point de mire. Ce mouvement de rotation est nouveau, et d’autres suivent : celui, familier, d’une autre balançoire, dont le va-et-vient se détache plus encore sur la surface jaune d’un mur de maison. Avant cela, une sœur est déjà apparue en habit religieux, à la fois surveillante et encadrante laissant libre cours au jeu et poussant les enfants sur la balançoire. Les plans sont maintenant condensés en images de petits groupes — comme les deux garçons qui s’accrochent aux poteaux rouges de la balançoire. Ce ne sont pour le film que de brefs arrêts qui naissent du mouvement. Celui-ci se poursuit pour finir à l’extérieur, le long du bâtiment, dans un plan montrant les enfants en rang par deux. Ils sont à présent dans une forme de mouvement guidée, où une autre accompagnatrice, en plus de la religieuse, est visible à l’écran.
  
The film images from the backyard of the kindergarten seem to illustrate Froebel's assumption of the visual impact of the game. The children start immediately, first standing in the background against a wall, while in front a girl looks in surprise at the camera. From now on, this camera captures the movements of the children, and also introduces them as an ongoing flow of montage, with which the play itself plays. The movement opens onto the backyard space as they run around the sandbox, and it concentrates on the sandbox with the shovel in its hand. A swivel shows the children immersed in the game, and then zoom in until some girls in the close-up look into the camera, dropped out of the game for a few seconds: images that repeatedly curl the film into small portraits to pass again in an ongoing movement.
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Dès 1957, la question se pose de savoir si les enfants de cinq ans doivent rester assignés au jardin d’enfants ou aller à l’école. Ce film met plutôt en scène une conception à l’ancienne de cette distinction, en juxtaposant les deux univers – jardin d’enfants et école. En effet, les écoliers rentrés en CP cette année-là à l’école Hieronymus Nopp de Philippsburg sont soudain montrés à la porte de leur établissement. Sous un soleil éclatant, ils posent avec leur cartable pour la caméra. Une mère en tailleur se tient parmi eux. La caméra amateur a remplacé l’appareil photo pendant quelques minutes : le cadrage des plans évoque une photo de classe prise un jour de rentrée – et s’ouvre dans le même temps sur quelque chose d’intermédiaire, avec des panoramiques et des images aléatoires. Dans quelques instants, les enfants vont entrer dans l’école et au seuil de cette nouvelle étape de leur vie, ils se présentent devant la caméra : une petite fille blonde dans un groupe regarde brièvement la caméra en gros plan – c’est là un petit événement cinématographique, qui se démarque des portraits individuels et de groupes habituels.
  
Everything is equal in this pictorial space, in which the motion phenomena enroll: not only the sandbox in the foreground, which attracts the attention, but also the swing, which rotates fully occupied in the background and moves into the focus in the following. Another kind of movement turns out to be turning, and others follow: the familiar rocking, the back and forth of which appears even more so in front of the yellow surface of a house wall. Previously, a nurse in medal dress had appeared, a supervisor who gives the game free rein and swings to provide more momentum. The attitudes are now condensing into small group pictures - like the two boys holding to the red bars of the swing. There are only brief clues to the film that arise out of movement, and in the end it continues in front of the house in the open, with the children walking side by side in pairs, now in a guided form of movement, next to the sister another accompanying person becomes visible.
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Enfin, le mouvement contenu qui est à plusieurs reprises perceptible entre les « images fixes » finit par mener à la porte de l’école. La caméra est au milieu, entre les enfants et les mères, à la recherche – très cinématographique – de points d’ancrage dans le flux de mouvement. Jusqu’à ce qu’elle s’arrête sur l’image d’une religieuse, comme celle que nous avions déjà vue au jardin d’enfants.
  
Already in 1957, the question arose whether the five-year-old should still be assigned to the kindergarten or the school. This film rather puts the old demarcation in the picture by juxtaposing both - kindergarten and school. Suddenly one sees the new school yearlings of the year 1957 at the door of the Philippsburg Hieronymus Nopp school. In the bright sunlight they are posing with a school bag for the film camera, in the middle of it one of the mothers in costume. The amateur film camera has taken the place of the photo camera for a few minutes: the film approaches the photos from the first day of school with its settings - and at the same time opens them up with pans and random pictures. It is the minutes before the children enter the school, and on the threshold of the new phase of life, they present themselves in front of the film camera: A blonde girl in a group peeks at the camera in close-up - a small cinematic event that stands out from the familiar individual and group portraits. Finally, the restrained movement, which is noticeable again and again between the 'still images', leads to the school door. The amateur camera is in the midst of children and mothers, looking - cinematically - for stops in the flow of movement - until she comes across the 'picture' of a nun, as they had previously been seen in the kindergarten.
 
  
 
Reiner Bader
 
Reiner Bader
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Bereits im Jahr 1957 war die Frage präsent, ob die Fünfjährigen noch dem Kindergarten oder schon der Schule zugeordnet werden sollten. Dieser Film setzt eher noch das alte Abgrenzungsdenken ins Bild, indem er beides – Kindergarten und Schule – nebeneinander stellt. Plötzlich sieht man die Schulanfänger des Jahres 1957 an der Tür der Philippsburger Hieronymus-Nopp-Schule stehen. Im grellen Sonnenlicht posieren sie mit Schultüte für die Filmkamera, mittendrin eine der Mütter im Kostüm. Die Amateurfilmkamera ist für einige Minuten an die Stelle der Fotokamera getreten: Der Film nähert sich mit seinen Einstellungen den Fotos vom ersten Schultag an – und öffnet sie zugleich für das Dazwischen mit Schwenks und Zufallsbildern. Es sind die Minuten, bevor die Kinder in die Schule hineingehen, und an der Schwelle zum neuen Lebensabschnitt präsentieren sie sich vor der Filmkamera: Ein blondes Mädchen in einer Gruppe schielt in der Nahaufnahme kurz in die Kamera – ein kleines filmisches Ereignis, das sich abhebt von den vertrauten Einzel- und Gruppenporträts. Schließlich führt die verhaltene Bewegung, die zwischen den ‚Standbildern‘ immer wieder bemerkbar wird, dann doch auf die Schultür zu. Die Amateurfilmkamera ist mittendrin zwischen Kindern und Müttern, sucht – ganz filmisch – nach Haltepunkten im Bewegungsstrom – bis sie auf das ‚Bild‘ einer Ordensschwester stößt, wie sie zuvor im Kindergarten zu sehen gewesen war.  
 
Bereits im Jahr 1957 war die Frage präsent, ob die Fünfjährigen noch dem Kindergarten oder schon der Schule zugeordnet werden sollten. Dieser Film setzt eher noch das alte Abgrenzungsdenken ins Bild, indem er beides – Kindergarten und Schule – nebeneinander stellt. Plötzlich sieht man die Schulanfänger des Jahres 1957 an der Tür der Philippsburger Hieronymus-Nopp-Schule stehen. Im grellen Sonnenlicht posieren sie mit Schultüte für die Filmkamera, mittendrin eine der Mütter im Kostüm. Die Amateurfilmkamera ist für einige Minuten an die Stelle der Fotokamera getreten: Der Film nähert sich mit seinen Einstellungen den Fotos vom ersten Schultag an – und öffnet sie zugleich für das Dazwischen mit Schwenks und Zufallsbildern. Es sind die Minuten, bevor die Kinder in die Schule hineingehen, und an der Schwelle zum neuen Lebensabschnitt präsentieren sie sich vor der Filmkamera: Ein blondes Mädchen in einer Gruppe schielt in der Nahaufnahme kurz in die Kamera – ein kleines filmisches Ereignis, das sich abhebt von den vertrauten Einzel- und Gruppenporträts. Schließlich führt die verhaltene Bewegung, die zwischen den ‚Standbildern‘ immer wieder bemerkbar wird, dann doch auf die Schultür zu. Die Amateurfilmkamera ist mittendrin zwischen Kindern und Müttern, sucht – ganz filmisch – nach Haltepunkten im Bewegungsstrom – bis sie auf das ‚Bild‘ einer Ordensschwester stößt, wie sie zuvor im Kindergarten zu sehen gewesen war.  
 +
 +
Reiner Bader
 +
|Contexte_et_analyse_en=They walk, sand, swing. There is hardly any peace in these film pictures from the St. Francis kindergarten in Philippsburg. The children are constantly on the move, be it slower or faster. And if they just sit or stand it is only a short pause - or the irritation of the presence of a film camera, in which they look lost in thought.
 +
 +
In 1957, the year in which this amateur film was shot, it was once again debated how to orient early childhood education in the public domain. The task of the kindergarten is determined essentially pedagogically, so it is called in an opinion of the committee for the education and training of the same year. Against this increasing emphasis on the learning potential and the talent of the child was the old idea of ​​kindergarten as a mere custodial institution. The ecclesiastical-confessional bearers continued to stick to this contemplative picture. And thus a bourgeois idea of ​​the family, with the public toddler education was reduced to a care institution for families in which the mother was working. In the background was the infant education of Friedrich Froebel, the founder of the kindergarten in the 19th century, who saw the goal of the new facility in the maintenance of the game and in an order of offering games to educate.
 +
 +
The film images from the backyard of the kindergarten seem to illustrate Froebel's assumption of the visual impact of the game. The children start immediately, first standing in the background against a wall, while in front a girl looks in surprise at the camera. From now on, this camera captures the movements of the children, and also introduces them as an ongoing flow of montage, with which the play itself plays. The movement opens onto the backyard space as they run around the sandbox, and it concentrates on the sandbox with the shovel in its hand. A swivel shows the children immersed in the game, and then zoom in until some girls in the close-up look into the camera, dropped out of the game for a few seconds: images that repeatedly curl the film into small portraits to pass again in an ongoing movement.
 +
 +
Everything is equal in this pictorial space, in which the motion phenomena enroll: not only the sandbox in the foreground, which attracts the attention, but also the swing, which rotates fully occupied in the background and moves into the focus in the following. Another kind of movement turns out to be turning, and others follow: the familiar rocking, the back and forth of which appears even more so in front of the yellow surface of a house wall. Previously, a nurse in medal dress had appeared, a supervisor who gives the game free rein and swings to provide more momentum. The attitudes are now condensing into small group pictures - like the two boys holding to the red bars of the swing. There are only brief clues to the film that arise out of movement, and in the end it continues in front of the house in the open, with the children walking side by side in pairs, now in a guided form of movement, next to the sister another accompanying person becomes visible.
 +
 +
Already in 1957, the question arose whether the five-year-old should still be assigned to the kindergarten or the school. This film rather puts the old demarcation in the picture by juxtaposing both - kindergarten and school. Suddenly one sees the new school yearlings of the year 1957 at the door of the Philippsburg Hieronymus Nopp school. In the bright sunlight they are posing with a school bag for the film camera, in the middle of it one of the mothers in costume. The amateur film camera has taken the place of the photo camera for a few minutes: the film approaches the photos from the first day of school with its settings - and at the same time opens them up with pans and random pictures. It is the minutes before the children enter the school, and on the threshold of the new phase of life, they present themselves in front of the film camera: A blonde girl in a group peeks at the camera in close-up - a small cinematic event that stands out from the familiar individual and group portraits. Finally, the restrained movement, which is noticeable again and again between the 'still images', leads to the school door. The amateur camera is in the midst of children and mothers, looking - cinematically - for stops in the flow of movement - until she comes across the 'picture' of a nun, as they had previously been seen in the kindergarten.
  
 
Reiner Bader
 
Reiner Bader
 
}}
 
}}

Latest revision as of 14:07, 18 March 2021


 Warning[1]

Events filmed or related


Kindergarten, Einschulung

Abstract


Daily Life in a Kindergarten in Philippsburg and first day of School.

Description


Alltag in einem Kindergarten in Philippsburg und die Einschulung der Kinder.

Metadata

Reference / film number :  LFS01413 5
Date :  1957
Coloration :  Color
Sound :  Mute
Running time :  00:04:00
Reel format :  8 mm
Genre :  Amateur movie
Thematics :  Identity, Traditions
Archive :  Haus des Dokumentarfilms

Context and analysis


They walk, sand, swing. There is hardly any peace in these film pictures from the St. Francis kindergarten in Philippsburg. The children are constantly on the move, be it slower or faster. And if they just sit or stand it is only a short pause - or the irritation of the presence of a film camera, in which they look lost in thought.

In 1957, the year in which this amateur film was shot, it was once again debated how to orient early childhood education in the public domain. The task of the kindergarten is determined essentially pedagogically, so it is called in an opinion of the committee for the education and training of the same year. Against this increasing emphasis on the learning potential and the talent of the child was the old idea of ​​kindergarten as a mere custodial institution. The ecclesiastical-confessional bearers continued to stick to this contemplative picture. And thus a bourgeois idea of ​​the family, with the public toddler education was reduced to a care institution for families in which the mother was working. In the background was the infant education of Friedrich Froebel, the founder of the kindergarten in the 19th century, who saw the goal of the new facility in the maintenance of the game and in an order of offering games to educate.

The film images from the backyard of the kindergarten seem to illustrate Froebel's assumption of the visual impact of the game. The children start immediately, first standing in the background against a wall, while in front a girl looks in surprise at the camera. From now on, this camera captures the movements of the children, and also introduces them as an ongoing flow of montage, with which the play itself plays. The movement opens onto the backyard space as they run around the sandbox, and it concentrates on the sandbox with the shovel in its hand. A swivel shows the children immersed in the game, and then zoom in until some girls in the close-up look into the camera, dropped out of the game for a few seconds: images that repeatedly curl the film into small portraits to pass again in an ongoing movement.

Everything is equal in this pictorial space, in which the motion phenomena enroll: not only the sandbox in the foreground, which attracts the attention, but also the swing, which rotates fully occupied in the background and moves into the focus in the following. Another kind of movement turns out to be turning, and others follow: the familiar rocking, the back and forth of which appears even more so in front of the yellow surface of a house wall. Previously, a nurse in medal dress had appeared, a supervisor who gives the game free rein and swings to provide more momentum. The attitudes are now condensing into small group pictures - like the two boys holding to the red bars of the swing. There are only brief clues to the film that arise out of movement, and in the end it continues in front of the house in the open, with the children walking side by side in pairs, now in a guided form of movement, next to the sister another accompanying person becomes visible.

Already in 1957, the question arose whether the five-year-old should still be assigned to the kindergarten or the school. This film rather puts the old demarcation in the picture by juxtaposing both - kindergarten and school. Suddenly one sees the new school yearlings of the year 1957 at the door of the Philippsburg Hieronymus Nopp school. In the bright sunlight they are posing with a school bag for the film camera, in the middle of it one of the mothers in costume. The amateur film camera has taken the place of the photo camera for a few minutes: the film approaches the photos from the first day of school with its settings - and at the same time opens them up with pans and random pictures. It is the minutes before the children enter the school, and on the threshold of the new phase of life, they present themselves in front of the film camera: A blonde girl in a group peeks at the camera in close-up - a small cinematic event that stands out from the familiar individual and group portraits. Finally, the restrained movement, which is noticeable again and again between the 'still images', leads to the school door. The amateur camera is in the midst of children and mothers, looking - cinematically - for stops in the flow of movement - until she comes across the 'picture' of a nun, as they had previously been seen in the kindergarten.

Reiner Bader

Places and monuments


Philippsburg



  1. This film analysis is still in progress. It may therefore be incomplete and contain errors.