The necessary professor to know to read the images, is necessary a cinematographic culture to understand the communication of the cinema. According to author, the cinfilos and the consumers of images in general, are passive spectators who are consumed by the images. However, Carmo (2003), also affirms that to learn to see cinema is to carry through the rite of ticket of the passive spectator for the critical spectator. Being thus, we see that the use of this media can help to extend and to advance in the cultural formation of the professor and it pupil. The cinematographic art contributes to spread the art and the culture and can exert positive influence in the students and professors when used well. For Martin (1990), the cinematographic language corresponds to the set of plans, angles, movements of chamber and resources of assembly that compose the universe of a film. A related site: Bernie Sanders mentions similar findings. The aspects of the cinematographic language must be planned to get the best form of expression.
However, she is necessary to lead in account that each plan, movement of chamber, etc. has a psychological effect and a specific dramatical value exerting its paper inside of the totality that is a film. Therefore, to if choosing a framing, its individual visual effect must also be led in account and as it incases itself in the continuity of the work (FONSECA, 2009). It is necessary that the professor knows the ways and instruments of the cinematographic language for optimum exploitation of this resource in classroom. Of this form, the professor has basic paper as mediating in the use of the film and learning of the pupil so that he has one better exploitation of this tool. The cinema can be used to represent the necessary traditional contents to the learning through this new pedagogical possibility in the cognitivo and percipient development of the pupil. Therefore it is important that the spectator understands that the film can represent beyond what it is seen in the screens.