Introduction To Film Dialoguel
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Lecturette 2: Introduction to Film Dialogue By: Jofti A. Villena
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 visually-good and stunning camera shots; appreciate the film for its diversity, appreciate cultural diversity.
Concepts . . . Film Dialogue – being in contact with the film film;; what given focus is 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 is is.. “Mining the gold in films. films.” More or less, film dialogue has a considerable amount of all these concepts in its existence and application but more focused on life’s experiences that has been called by the film to surface after watching and give weight to sharing it to others and as well as to listen what others has to say and learn from it it.. “Inner Dialogue Dialogue..”
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.
Film Dialogue in a Nutshell a. The spiritual film dialogue: A systematic goal-oriented group dialogue about film/TV stories; Organized and guided viewing of films/TV-stories; Sharing experiences and interpretations; From a Christian perspective, in the light of the gospel; Clarification of central symbols, scenes, dramatic forms;
Nutshell . . . Discovery of religious/spiritual dimensions in the story; story; Broadening experiences and interpretations;; interpretations Evaluation and integration of experiences;; experiences Process going from reception to perception of media stories; stories; Biography/reference systems of the viewers viewers;; Group animator facilitates the dialogue;; dialogue
Characteristics of the Spiritual Dialogue b. Characteristics of the spiritual dialogue: The group members describe what they have seen in the light of their own background, their Christian life experiences, worldview, faith, spirituality; With the help of guiding questions, the interpersonal communication on the film initiates the spiritual dialogue;
Characteristics . . . Communication within the group about these questions continues and stimulates this dialogue about spirituality embodied in the film story and in the spirituality of the group members members.. This dialogue is a spiritual dialogue. dialogue. The spirituality developed during the dialogue is a dialogical spirituality involving the film, the individual and each member of the group group.. This spiritual dialogue can be practiced in all kinds of events. events.
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.
Guiding Rules for Spiritual Dialogue Initial reflection: brief sharing of first impressions, experiences, emotions, questions. Analysis of the audiovisual language, the story, the message, key moments in the story, important images, symbols, scenes, music, verbal texts, camera, editing. Analysis of spiritual dimensions: the “spirit” of the film, the inspiration, motivations of the main characters, the ways they order and integrate their experiences; the more or less implicit worldview, value system, images of religion or faith, processes of transformation, mystical experiences.
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. 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.
2. 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. 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)
2. 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
‘Intuitive’ 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.
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”
Subjective “feeling”
Approach
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.
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 finetuning 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 . . .
pelikula@titusbrandsma Visit us at: www.pelikula-titusbrandsma.ph Call us at 726-6054 / 09176270634
JOLOGS
Title: JOLOGS (Philippines,
2002)
Cast: Assunta De Rossi, Dominic Ochoa, John Prats, Patrick Garcia, Baron Geisler, Jodi Sta. Maria Vhong Navarro, Michelle Bayle, Diether Ocampo Onemig Bondoc Production Design: Gil Morales Screenplay: Ned Trespeces Direction: Gilbert Perez Running Time: 110 minutes Genre: Comedy/ Drama/ Romance
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 visually-good and stunning camera shots; appreciate the film for its diversity, appreciate cultural diversity.
Concepts . . . Film Dialogue – being in contact with the film film;; what given focus is 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 is is.. “Mining the gold in films. films.” More or less, film dialogue has a considerable amount of all these concepts in its existence and application but more focused on life’s experiences that has been called by the film to surface after watching and give weight to sharing it to others and as well as to listen what others has to say and learn from it it.. “Inner Dialogue Dialogue..”
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.
Film Dialogue in a Nutshell a. The spiritual film dialogue: A systematic goal-oriented group dialogue about film/TV stories; Organized and guided viewing of films/TV-stories; Sharing experiences and interpretations; From a Christian perspective, in the light of the gospel; Clarification of central symbols, scenes, dramatic forms;
Nutshell . . . Discovery of religious/spiritual dimensions in the story; story; Broadening experiences and interpretations;; interpretations Evaluation and integration of experiences;; experiences Process going from reception to perception of media stories; stories; Biography/reference systems of the viewers viewers;; Group animator facilitates the dialogue;; dialogue
Characteristics of the Spiritual Dialogue b. Characteristics of the spiritual dialogue: The group members describe what they have seen in the light of their own background, their Christian life experiences, worldview, faith, spirituality; With the help of guiding questions, the interpersonal communication on the film initiates the spiritual dialogue;
Characteristics . . . Communication within the group about these questions continues and stimulates this dialogue about spirituality embodied in the film story and in the spirituality of the group members members.. This dialogue is a spiritual dialogue. dialogue. The spirituality developed during the dialogue is a dialogical spirituality involving the film, the individual and each member of the group group.. This spiritual dialogue can be practiced in all kinds of events. events.
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.
Guiding Rules for Spiritual Dialogue Initial reflection: brief sharing of first impressions, experiences, emotions, questions. Analysis of the audiovisual language, the story, the message, key moments in the story, important images, symbols, scenes, music, verbal texts, camera, editing. Analysis of spiritual dimensions: the “spirit” of the film, the inspiration, motivations of the main characters, the ways they order and integrate their experiences; the more or less implicit worldview, value system, images of religion or faith, processes of transformation, mystical experiences.
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. 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.
2. 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. 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)
2. 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
‘Intuitive’ 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.
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”
Subjective “feeling”
Approach
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.
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 finetuning 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 . . .
pelikula@titusbrandsma Visit us at: www.pelikula-titusbrandsma.ph Call us at 726-6054 / 09176270634
JOLOGS
Title: JOLOGS (Philippines,
2002)
Cast: Assunta De Rossi, Dominic Ochoa, John Prats, Patrick Garcia, Baron Geisler, Jodi Sta. Maria Vhong Navarro, Michelle Bayle, Diether Ocampo Onemig Bondoc Production Design: Gil Morales Screenplay: Ned Trespeces Direction: Gilbert Perez Running Time: 110 minutes Genre: Comedy/ Drama/ Romance
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