This article explores how lens‐based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists’ film and moving‐image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas Philibert, and writing about a film made for the Freelands Foundation SHIFT series, I examine how using moving‐image practice to make a collaborative film in a college of further education in the West Midlands, England can dislocate art education pedagogy from Saul's parcelled and segmented time towards affective encounters and out‐of‐time, temporal experiences. Deleuze's time‐image film theory is explored to position pedagogy as a distinct, affective and temporal phenomena in Art Education and is used to compare the experience of both the making of and watching a film in an education context.

中文翻译：

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Out of Time， Pedagogy， Temporality 和 Affective Encounter.艺术教育中的电影及流动影像制作实践


本文探讨了基于镜头的实践如何阐明和回应艺术教育现象。探讨了艺术家电影和动态影像中教育的情感转向和教育的表象，以帮助识别艺术教育教学法的不同表象和经验。穿插着学生的剪辑描述和我观看尼古拉斯·菲利伯特 （Nicolas Philibert） 的《Être et avoir》的情感描述，以及为弗里兰兹基金会 SHIFT 系列制作的电影，我研究了在英国西米德兰兹郡的一所继续教育学院中使用移动影像实践制作合作电影如何使艺术教育教学法从 Saul 的打包和分段时间错位到情感相遇和时间外。 时间体验。德勒兹的时间-图像电影理论被探索为将教育学定位为艺术教育中一种独特的、情感的和时间的现象，并用于比较在教育背景下制作和观看电影的经验。