The demise of Theo Angelopoulus (the “ou” being imposed by the French pronunciation) can without a shadow of a doubt be considered a great loss for contemporary cinema, above all from the European perspective, which has lost a reference as regards the capacity of fictional discourses to reflect upon history. This substantial streak running through his works sometimes makes it impossible for the eye to take a calm look at the aspects directly linked to cinematographic discourse, and to its formalisation, which is a path we should not stray far from since his films are an important contribution to narrative forms and expository work involving significants. This is why, fully aware of the texts that other colleagues write here on the aspects related to the contents, I would like to attempt to get closer to some of the stylistic dictates of his films, above all those that have to do with the use of shot-sequence and the relations between being inside and outside the field of action: it is not the first time I have undertaken such a study and many of the reflections set out here have been taken from previous texts, although rearranged in a suitable fashion to fit the present requirements (Gómez Tarín, 2004, 2005, 2006, 2010). I even have to unwillingly confirm how these paradigms of his films have gradually become “constant modes” and with the passing of time have lost much of their initial force.

L’article que presentem es basa en la realització de projectes d’APS en una assignatura de magisteri infantil. L’objectiu que pretenem amb l’APS és el d’aconseguir una formació integral que fomente valors crítics i ètics entre els i les estudiants; al mateix temps que es propicia un aprenentatge en contextos reals i s’ofereix un servei. Dels resultats de l’experiència destaquem el valor de la pràctica d’APS i la comprensió sobre la complexitat de l’educació. Com a conclusions, pensem que aquests tipus de treballs aporten vivències que fomenten un aprenentatge ric, basat en la teoria i en coherència amb la pràctica.