Luz, câmera, ação: A representação da imagem do profissional bibliotecário na filmografia

Abstract

It examines the image of the professional librarian propagated in the films, approaching initially the question of the social representation as fruit of the relations accomplished when of making professional that compose caricature an image and stereotyped, based in traditional, technical making, that it preemie its action until the sprouting of the computing mechanisms of generation, storage and dissemination of the information, that is limited one lady of eyeglasses, private suits feared by the users and without expectation of professional growth, until the occurred changes in its formation, profile and requirements in the called "society the information", that it unchained a competent professional, adept and innovator, acting directly in the development of the society. The research had as objective to argue the representations and the factors that affect the image of the professional librarian in the films, pointing elements capable to change the attitudes of the professionals and one better understanding of its stereotype. From the understanding of the propagated messages and posterior analysis of the thirteen selected films, pointing categories as personal and professional traces of the librarian being carried through the composition of the final text, that amongst the results was verified that the image is constituted with a first objective, that is to promote the entertainment and that its use directly is related the vision that the author desires to offer in transformer of stories not being such engaged retraction with the reality of the practical professionals. Of 13 (third) the films more 05 (five) they had shown an allied stereotyped image to the practical traditionalists, in excessively, the attitudes, abilities and abilities had been detached had a good formation, communication, resolution of problems, use of the technologies and dissemination of the information and the knowledge on the part of the professional, as also an image not stereotyped and one better representation of the professional before the society that acted, being this sufficiently common incidence in the films most current. Necessity becomes, therefore, the understanding on the part of the society of that in transformer of the years the image rebased regarding the professional is in the majority of the times unreal for the stranger of its performance and formation and when its personal attitudes and behaviors are evidenced in its place of performance, becoming necessary to understand decade, sort and stories of the film to understand what the author tries to show, if to attract and to amuse or to pass a reality.