Galna kameror och barns virtuella bildseende, bildtänkande och filmgörande i förskolan

Sammanfattning: The aim of this thesis is to contribute knowledge about children’s image-vision, image-thinking and image- and filmmaking in preschool, through a collaboration with children and digital film technology, and about Gilles Deleuze’s film philosophy (1989) as well as digital videography and the methodology created in the research process. The empirical production was carried out as a digital decentralized videography, according to Pink et al. (2016), over a period of about 12 months. A total of 29 children participated in filmmaking at filmings and screenings collected in fifteen film event-logs. The researcher follows, films and interacts with the children’s filmmaking. Deleuze’s transcendental empiricism makes it possible to think about the indeterminable that is triggered in filmmaking as movement and change. Thus, internal differences are established as an immediacy between thinking and being. Feeling and being in itself can be understood as a form of consciousness in its ’own right that is both definite and indefinite. The form of the indeterminable becomes determinable within time. Deleuze’s concept crystal-image works in the analyses, unfolding the concepts mirror-image, recollection-image as well as ritornello and gallop. The concept mirror-image works as an image with two sides, the current and the virtual. In one chapter of the thesis, the researcher accompanies the children Andreas and Hanna’s filmmaking. The image of a common virtual vision is made visible and actually becomes with the digital film cameras and the speech about who sees whom. In a second chapter, the children Kim and Erik film to try to see a ghost that Erik remembers seeing in the room outside the toilets. With the concept recollection-image, the memory of a virtual ghost from the past can be re-played and actualized in the present and become visible. In a third chapter, the concepts ritornello and gallop set parallel images of time in motion towards the future. It is about how the children Isak and Rebecka film and play on rhythmic instruments. The children play their film on a screen and imitate their own movements that are visible on the screen. With the gallop, the world is coming to an end and the ritornello creates the beginning of the world possible, and takes it away from time. The results of the thesis contribute knowledge about how children’s and adults’ interaction with digital film technology can open opportunities for children and adults to interact and rethink the reality of the surrounding environment with digital film. This shows the importance of understanding how relationships between materialities, images and life in preschool are connected. In addition, the thesis contributes knowledge of how a continuous alternation between images of the actual, visible, and the virtual, invisible, can emerge in children’s filmmaking. This makes it possible to follow the children through digitized time passages and retrieve memories from the past and place them in the present, and also in the future. The thesis thus raises new questions about what kind of virtual images of realities can become available and also visible and actual, in the meeting between children’s image-vision and digital film technology.