As it affirms Nelson de Luca Pretto (1996, p.136): ' ' to compel the audiovisual, cinema, video, television and, now, the multimedias to enter to the force in the preexisting categories of the education is the same that not utiliz-lo.' ' The content finishes for becoming useless, since the information only is fixed without provoking the questioning or motivating the research. The function of the audiovisual is not to act as mere support in the traditional transmission of knowing. Thus the professor must elencar some procedures when using films in classroom: Analisar the historiogrficos factors contextualizados by cineasta; Analisar ' ' fatos' ' the time description explored in the films for a possible desmistificao of a positivista history, dominant e, therefore, regionalist; Observar as the social groups, as well as, the social contextualizaes of the place are represented in the film; Perceber the film-sets of documents as problematizador element of the historiogrfico knowledge; Analisar which concept of History cineasta presents in the contextualizao of the trams; the relation between cinema-history as instrument for the teach-research; Aproximar the historiogrficos contents, through the cinematography, with the daily life of the pupils. The pupils also have of if to perceive that all production human being is written it cinematographic I have inserted in it the form to think of the author, its vision ideological politics and, none I am exempt or neutral, fitting to the professor and the pupils to identify to these trends and not screens as absolute truths, therefore these in history do not exist. As Cabrini defends.
(1994. P. 36) ' ' The social transformations if give in a differentiated time, in one? historical time? , that it must state and explain this change. It is to this time? what we will call historical time? that we must be intent and not only what we can call physical time or chronological time. The historical time states, explains the process that suffers the social reality in estudo' '. Thus if it cannot dissociar the historical film of the effective reality, therefore this always conditional to the gift. Ahead of this context the language of the seventh art is one of the most useful and effective in the formation of the historical knowledge of the pupils, for being to multidiscipline and also contemplating the direction of the hearing and others some visual resources that attract much more them pupils of what the enfadonhas expositivas lessons where the pupil more feels each time far from the boarded historical context. לא תמיד אבי קושניר. The chosen film ' ' Araguaia the conspiracy of silencio' ' ahead of what already it was displayed, it congregates you vary historical boardings of the period of the military dictatorship as the censorship, it tortures, violence, urban guerrilla and agricultural, estudantil movement and it criticizes it situation of misery and abandonment of the region north of that period. Being able the pupils to contemplate the local sphere still more giving meant the exhibition, analyzes historical and agreement of national and local history.