Film Dialogue And Soc Comm'n - Ver 1

Film Dialogue and Social Conscientization Titus Brandsma CenterCenter-Media Program

Media :

channel through which the message is transmitted. : perspective, ideology,

lifestyle, “ a way of life”

Media from means (Paul VI)

… to culture

(John Paul II)

Film =

Motion picture…

GENRES • • • • • •

Action Romance Horror Adventure • • Sci--Fi Sci • Drama • • • •

Comedy “Adult” Cartoons Animation Period/Historical Musical Etc.

“pleasure politics” Do films influence our perspective of life, community, society and development?

FILMS – utilitarian approach A medium for conscientization.
Social Mobilization – advocacy campaigns, community education, community organizing


FILMS – source of application for media literacy education Analyzing and being critical about the content of media (films)
Practicing being an active audience.


FILM & SPIRITUALITY

Spirituality dynamic relationship between the divine Spirit and the human Spirit that leads to transformation transformation.. :

:

“lived and a multiform phenomenon “

Can we experience God in films?  Why

do we watch films? Or why not watch them?  What are your considerations when you watch a film? (mood, values, regulations, etc.)  What are your immediate reactions after films?

IMPORTANCE OF FILM Immediate Reactions to Film Peter Malone (On Screen)     

‘I want to enjoy myself when I see a movie.’ ‘I need a bit of escapism.’ ‘Tickets cost so much these days and I’m not sure they’re worth it.’ ‘Everybody’s seen it, it’s the in-thing.’





‘Movies today are too permissive, too much foul language, too much violence, sex and nudity. Why isn’t there something decent for the family?’ I like a more serious film. I like a message. A movie should have something worthwhile to say.’

Film and Spirituality Three Key Areas • How do we understand spirituality? • Characteristics of film language • The dialogue concerning spirituality in film

OR

Entertainment Anything that pleases us, lifts us out of ourselves, helps us enjoy ourselves. Sometimes it can be easy and quick bit of relaxation – just vegging in front of the box – or simply a time-filler. True and genuine entertainment is something that really satisfies and help us be our better selves.

Education Thinking of it as facts and figures being drummed into us relentlessly, we may not be very keen on education at all. While thinking of ‘education’ as the process in which we are led out of our ordinary into something better, it might seem more attractive. Education is then seen as more satisfying, more pleasing, helping us to become our better selves. Education is not information, it is transformation!

FILMS Films tell stories and drama of all kinds. When we view films, we engage, participate, identify, reject, classify, enjoy evaluate, digest and criticize. Mostly in a spontaneous way, jumping without order. We speak of many things about the film informally with one another during or after viewing: often casually. In short, we engage in interpersonal communication about the film. We are doing film dialogue, informally.

Three Areas to Consider Social Impact of Film

Film as Art

Film as Business

Media and Spirituality Film, as the medium, the language where to experience the divinedivine-human relationship that eventually leads to transformation.. transformation

Film and spirituality  Bring

out the “spiritual dimension” of the story!



Fish out the Divine-Human relationship in the story..

Characteristics of the Medium Film to Express Spirituality



 

Spirituality takes a form of a story or drama, of dramatized-life stories. (narrative than argumentative level) Always expressed in the form of a concentration/condensation of crucial life events. Always situated in concrete socio-cultural contexts, showing confrontation.

Characteristics . . .

  

Always individualized and incarnated in living persons. (lived spirituality). Quite often takes the form of an audiovisualized life journey. The audiovisual language of film has at its disposal its own facilities to express and experience spirituality and spiritual values.

Characteristics. . . 

Spirituality implies visions/appreciation of life, human nature, world and being – often very different and conflicting interpretations and evaluations of them.

Characteristics. . . 

Spirituality in the context of the film dialogue is a dialogical spirituality –

It concerns spirituality and spiritual values implied in the film story and is explored/ discovered through the dialogue in the group.

Film Dialogue

Film Dialogue & Other Concepts 

Film Reading read the film according to the message it is trying to convey, promote and advocate. Trying to at least closely capture what the director is trying to say. Read the film according to the directors’ perspectives and not the viewers’.

Concepts . . . 

Film Critique/Analysis – criticize/analyze the film according to the merits or demerits of the film. Mostly according to the aesthetical aspect (technical) and the how the story is written, presented and developed through the film. Usually, questions are if the film is near to the realities of life, true to its adaptation. Not more in the application of film to life. Also how characters compliment or become a barrier to the development of the story, how it relates to us.

Concepts . . . 

Film Appreciation – appreciating the film out of its goodness, aesthetics and visuallygood and stunning camera shots; appreciate the film for its diversity, appreciate cultural diversity.

Film Dialogue









Focus - your inner self; self; as you watch, you discover yourself, you make your journey to your innermost being, you talk yourself through the film and get attached with your senses, your logic, your emotions and what the film for you you.. “Mining the gold in films. films.” Focused on life’s experiences that has been called by the film to surface - . “Inner Dialogue Dialogue..” Sharing with others and listening what others have to say, and learn from them them..

• Remember: All films have values. But they depend so much on the viewers’ viewpoints and perspectives. • Films are reflective of realities. • Films should be treated in the light of spirituality and meanings.

Main Objectives of the Film Dialogue 



 



A better Christian understanding of media stories stories;; A process of dialogue, confrontation and clarification;; clarification Ordering and integration of experiences; experiences; Growth in religious and spiritual meaning;; meaning Cultivation of the life of the spirit from a Christian viewpoint. viewpoint.

Sensibilities – Attitudes towards Film Medium Post Modern Film Theory: Audience’s Perspective

Post Modern Film Theory 

 





What the audience gets or what impact it makes on the viewers? How an audience receives message? What triggers their pattern of interpreting the message? Why such impact which differ from one receiver to the other? What is the connection between the audience background and their way of reading the film?

Sensibilities – Attitudes towards Film Medium

Modern Film Theory Director’s Perspective

Modern Film Theory  



What the director tries to communicate? How symbols are used to get across his/her message? Why such techniques are used in terms of shots, transition, editing, lighting, sound effects, musical scoring, location, props, casting or portrayal of characters?

Both theories compliment each other: Technique

and content Director’s message and meaning on the audience

What is sensibility? 



Attitudes towards the film medium is audience perspective. Refers to: interests, tastes and style of individuals, groups of culture.

Sensibilities . . .  Interests

Sensibilities . . . 

Tastes



Style

of individuals, groups of culture

Sensibility is a key idea for helping us to appreciate our differences in responding to media and arts.

KEY FOCAL POINTS OF SENSITIVITY (Carl Jung, 1921 published Personality Types)

Focal Points . . .

Focal Points . . .

Focal Points . . .

Focal Points . . .

Energy--Source Energy 1.   2.  

Extraversion Energized by the world out there, of people, nature and situations. Left to ourselves for too long, feel drained and need to seek company or be out and about. Introversion Drained by having to be ‘out there’ too long and regain energy by being ourselves Getting our energy from our inner world of ideas, feelings, imagination

Pace 1.

2.

Deciders prefer that the movie gets going and doesn’t delay. They want a rapid pace. (commercial TV, music videos MTV, government supported TV channels) Data gatherers do not have that sense of urgency and can relish what is on screen while it is there.

Preferred Way of Observing – Impact on the Senses

  

‘Sensate’ Type of Viewers Observe the detail of time and place Focus on the present Sensate types cannot quite appreciate how the intuitive has not noticed some crucial detail right before their eyes.





‘Intuitive’ Type of Viewers Not so precise with details but can describe a general theme. Notice the here and now but get an overall impression and then notice detail when they are relevant.

Preferred Way of Observing – Impact on the Senses ‘Sensate’ Type of Viewers  Sensate

will respond fully to color, movement, forms.  The more complex a screenplay is, the more difficult it may be for the sensate to follow and they may want to give up while the intuitive is enthralled.

‘Intuitive’ Type of Viewers  Intuitive types don’t feel the need to notice the detail.  The more intuitive they are, the less detail they may notice.  A film which relies on sense detail or action may not appeal to intuitive.

Making Decisions – Our Criteria







Objective“thinking” Approach Want the truth and go over it with clear principles and logic. Detached view of what is true or false, of what we judge to be right or wrong. Confident in the fairness of the decisions we make.







Subjective “feeling” Approach Prefer to be more emotionally involved in the issue. Not so much a question of true or false, black or white; they might be grey area. Looking towards goodness and harmony, taking account of values and circumstances that might alter the decision.

FILM AND SENSITIVITIES: Language, Sexual Issues and Violence 

Film Sensibility indicates our interest, tastes and styles. Within our sensibility, we are affected differently by the treatment of the material. We can ask why this is so and what are the consequences.



Film Sensitivity is a word about which we are sensitive. It indicates how we are effected and affected by what we see.

SENSITIVITIES . . . 

We can speak about the effect of – loud noise, bright colors, too rapid movements, being physically upset by violent scenes, frightened by horror, breaking into laughter through comedy. Sometimes it is just right. Sometimes, it is too much.

Varying Aspects of Human Sensitivity Delicacy  Formation of a ‘delicate’ conscience  This fine-tuning of sensitivity should lead to this kind of ‘delicacy’ of sensitivity.

Aspects . . . Fragility  Fragility of sensitivity may appear like a delicacy but, rather, it is a sensitivity that has been overprotected; not been exposed to harsher human realities.

Aspects . . . Robustness  In our real world of human evil, the fine-tuning of a sensitivity needs to be robust, able to deal with the brutality and be compassionate to those who suffer (rather than avoiding the issue or, when confronted by it, collapse or become disillusioned).

Aspects . . .

Crassness  The sensitivity not finetuned but wallows in what is ordinarily seen as gratuitous is ‘crass’ or rude or vulgar.  Desensitization’ to language and violence by constant exposure or by overexposure.  With children, it is not that they are desensitized but, rather, they have not seen through an adequate training in sensitivity.

Area of Sensitivity

Area of Sensitivity . . .

Area of Sensitivity . . .

Now

let’s experience film dialogue…

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