For Oliveira and Santos (2007) the educators have conscience that the Amazonian culture is hybrid, multicultural, formed for populations and different cultures and therefore, pedagogically work the autonomy of the citizens and the originalidade of its culture, that are the voices to know, them, the customs, imaginary and the representations of the local populations. They work the set to know cultural of the Amaznia in its plurality dialogicamente and complexity, materialize the freireano principle of solidarity and respect to the cultural diversity of the educandos, that perpassa for the respect to the different religious manifestations. MYTH AND LEGEND the myth and the legend are to know cultural that we acquire of our ancestor, and lead ahead for the future generations. The myth is a traditional history that is not based on that really happened, normally, speaks of supernatural beings, not real. The myths are invented, always help to explain the local customs or the natural phenomena.
The legend if is similar very to the myth. The difference is in the fact of that the legend can be based on a real event (that in fact occurred) or in a person that really existed. What it does not mean that history has not moved throughout the years. According to Rabbit (2003), as much the myth how much the legend can be classified as mythical narratives that if consider to explain the origin or the reason of a phenomenon. In this in case that, myth and legend tend to confuse themselves what it denotes the difficulty to trace with clearness the borders between them. Also the Amaznia is endowed with some myths and legends that compose this to know cultural, that they are led to all pro half of the popular culture, thus enriching the Amazonian education, are they more famous them: the Iara (is a blond young young woman of flaring body and irresistible beauty.
The cinema also served to hide the failures German, mainly after the defeat in Stalingrado, forcing its population has still to believe the German victory. With the continuation of the war and the beginning of the bombings in the German cities, the cinematographic production started to diminish gradual, serving only to keep the hope of the people in the busy cities. Consideraes final the author Marc Ferro obtains to demonstrate clearly capitulates in it analyzed, what the public opinions of the studied countries, through its cinematographic productions had expressed in the real life. France as a divided country, as much in relation to nazism, as in the uncertainty of an alliance with the English. U.S.A.
and its concern in pointing the main enemy of the democracy: nazism. The Ussr and its ferrenho antinazism and the will to stimulate its population the side of the Soviet defeat before the Germans. finally Germany with its glorificao when fhrer and herosmo German, also expressing the anti-semitism and anticommunism, leading the films to the professionalism of the cinematographic productions even for the classrooms. It criticizes it that I make the author is positive, therefore this was a minute study of the flmicas productions in such a way before as during World War II. The author knew to tell, to esmiuar the cinema of the involved countries in the conflict in a way of easy agreement, being cited some productions of its respective nations and its real concerns in passing its population the idea of validation of the entrance in the conflict, to make with that its people believed the final victory. Finally, this workmanship was analyzed in only one capitulates, having excessively the eleven chapters to be studied in new research, this that is a workmanship, to mine to see, riqussima in information on the world-wide conflict in a well different way in that we are accustomed to study. Bibliographical reference IRON, Marc. History of World War II, So Paulo, Ed. tica, 1995. My Blog:
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