Processo de produção de uma telenovela como ferramenta de educação alimentar e nutricional para frequentadores de restaurantes populares
The objective was to report the experience of the production process of a soap opera, as a tool for nutrition education (NE), to promote adequate and healthy eating soup kitchen frequenters. This process went through two phases: 1) collection of sociodemographic, nutritional and psychosocial data of...
| Autores: | , , , , , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/80472 |
| Acceso en línea: | https://doi.org/10.14393/REP-2023-70164 http://hdl.handle.net/1843/80472 https://orcid.org/0000-0002-5205-7821 https://orcid.org/0000-0001-6924-9304 https://orcid.org/0000-0003-0523-3973 https://orcid.org/0000-0001-9261-2597 |
| Access Level: | acceso abierto |
| Palabra clave: | Educação Alimentar e Nutricional Restaurantes Populares Telenovela Restaurantes Educação Telenovelas Nutrição |
| Sumario: | The objective was to report the experience of the production process of a soap opera, as a tool for nutrition education (NE), to promote adequate and healthy eating soup kitchen frequenters. This process went through two phases: 1) collection of sociodemographic, nutritional and psychosocial data of soup kitchen frequenters in a Brazilian capital, to trace the profile of this subjects as well as their needs, in order to guide and orientate the plot of a story that intertwined with their own stories; and 2) creation of the plot/script and the production of the soap opera, as an audiovisual resource, loaded with signs that trigger subjectivity. The soap opera is defended as a powerful NE tool, since its aesthetic perspective intertwined with the stories of these people can mark and affect them, both by the intensity of the sensations and emotions it is capable of producing, as well as by its analytical pedagogical devices and subjectivities producing devices. It is assumed that the adoption of new ways of thinking and new practices requires an investment that acts not only in the intellectual or cognitive dimension of learning, but in its affective dimension. |
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