Media And Spirituality Through Film Dialogue

Media and Spirituality thru Film Dialogue Conference Room, Teresa of Avila bldg. September 29, 2005

Titus Brandsma Center Media Program A Carmelite Media Ministry (Philippines)

Who is Blessed Titus Brandsma? •

A Dutch Carmelite martyr priest who is a journalist and an educator.

•

He denounced the Nazi ideology and defended the freedom of the press and the right to education.

•

He was arrested and tortured by the Nazis, died at Dachau on July 26, 1942.

Major Programs…

Film dialogue – a regular activity every 2nd Saturday of the month, billed pelikula@titusbrandsma at the Titus Brandsma Center in Manila. Our attendees call themselves “titusians.” This monthly event features art films and supports independent Filipino filmmakers by screening their films in the regular season.

The Pelikula Core Group

Cinema Australia, January 2424-28, 2005

Media and Spirituality Fora

Spirituality of Filmmaking

Spirituality of Storytelling

Jeffrey Jeturian

Bing Lao & Chris Martinez

Research

–

an on-going program to document

and study the trends and issues of Philippine Media. A finished project was a series of in-depth interviews with key players in the media industry – owners, programmers, advertising agencies, media organizations, media professors, and personalities – “The Philippine Media Trends, Issues and Needs” published in year 2000. Soon to be released is a study on the impact of media in selected urban and rural communities in the Philippines and the Spirituality of Cenaculistas in Makati.

Programs…

Media Education

– conducts a

series of lectures and training- workshops in communities, groups, schools, parishes, parishes, seminaries nationwide.

TBA Philippines –

biennial project that

gives recognition to outstanding Print and Broadcast Journalists in the country and community media. It is our local version of the prestigious international Titus Brandsma Award given by (UCIP) Union Catholique Internationale dela Presse.

Media Resource Center – maintenance of mini film/book library with references/materials on Church and Media, art films and more.

• Networking

maintains a network with Church, secular and professional media groups, practitioners and communicators. –

TBCMP is a member of: • SIGNIS - The World Association for Communicators (UNDA and OCIC merged) • ACN – Asian Communicators Network • PCCNET – Philippine Church Communicators’ Network • PAME – Philippine Association of Media Education Titus Brandsma Media Program 3/F Teresa of Avila Bldg., 28 Acacia St., Brgy. Mariana, Cubao, Q. C. 1112 02-726-6054 / 02-725-8167 (fax) [email protected] http://www.tbcmedia.org

Lecturette 1: Media and Spirituality

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)

Media Is just a part of a

COMMUNICATION process… : WHO says WHAT in

which CHANNEL to WHOM and with what EFFECT (Laswell, 1948)

BERLO’S MODEL OF COMMUNICATION (1961) Sender

S

Message

M

Channel

Receiver

Effect

C

R

E

FEEDBAC K

FORMS OF MEDIA PRINT BROADCAST ELECTRONIC

GROUP FOLK/TRADITIONAL NON-MEDIA

FOLK/TRADITIONAL MEDIA • • • • • • •

Dance Rituals Drama Story-telling Ballads Chanters Flute

• • • • • •

Praise singers Meetings Songs Popular theatre Drums The gong

GROUP/VISUAL MEDIA • • • • • •

slides flip charts poster stickers banners billboards (on public transport) • Photos • journals

• extension / information kits • blackboard • bulletin board • maps/charts/diagrams • wall paintings • stamps • video productions • public debates

PRINT • Newspapers • Magazines

• Manuals • Pamphlets, booklets

• Newsletters • Letters (direct mail)

BROADCAST & Electronic • • • • • • • •

Radio Television Tape recorders Video Cassettes Satellite dishes Cinema Cellphones WAP / Internet

NON--MEDIA COMMUNICATION NON • • • • • •

• Networking Face-to-face • drama home visits • Symposia, seminars and workshops Public meetings games/contests • folk theatre, case Group discussion study • Demonstration role playing • exhibitions

SPIRITUALITY • How one understands the “experience of God” affects one’s understanding of

Christology Ecclesiology Eschatology Morality

Spirituality : dynamic relationship between the divine Spirit and the human Spirit that leads to transformation.. transformation “lived and a multiform phenomenon “

Spirituality • A process. . . • A relationship. . . • A communication. . . When we are profoundly touched by the Other, we cannot help but communicate it!

FILM AND SPIRITUALITY

Film = Motion

picture…

GENRES • • • • • •

Action Romance Horror Adventure Sci--Fi Sci Drama

• • • • • • •

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

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 inthing.’


• ‘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. 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. 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 DivineHuman 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. 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.

Experience Film Dialogue. . .

GUIDE QUESTIONS • From the characters in the film, to whom do you relate or connect the most? • What are the meaningful symbols in the film that are striking to you? • If you will be asked to end the story, how would you like it to be?

CHILDREN OF HEAVEN • Title: Children of Heaven (Bacheha-Ye Aseman, Iran-1997) • Cast: Mohammad Amir Naji, Mir Farrokh Hashemian, Bahare Seddiqi, Fereshte Sarabandi, Karnal Mirkarimi • Producer: Mohammad Sared Seyedzadeh • Cinematographer: Parviz Malekzade • Editor: Hassan Hassandoost • Director/Screenwriter: Majid Majidi • Running Time: 88 minutes • Genre: Comedy/Drama

Lecturette 2: Introduction to Film Dialogue

Film Dialogue

Film Dialogue & Other Concepts • Film Reading - read the film according to the message it tries to convey, promote and advocate. It tries to 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 its technical and aesthetical aspects. It is concerned on how the story is written, presented and developed in the film. It is also interested in the story flow, setting and characters.

Concepts . . . • Film Appreciation – appreciate the film based on its goodness; aesthetics and visually-good and stunning camera shots; appreciate the film for its unity and diversity.

• Film Dialogue – is being in contact with the film; film; “the inner self” is the focus focus.. As one watches a film, one discovers oneself, one makes a journey to his/her innermost being being.. One gets attached with his/her senses, logic, emotions emotions.. “Mining the gold in films films..” Film dialogue focuses on life’s experiences that will surface after film viewing viewing..

• 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 of life- 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 film in the light of their own background, their Christian life experiences, worldview, faith, spirituality;

•

With the help of guiding questions, the interactive sharing on the film initiates the spiritual dialogue;

Characteristics . . . • Interactive sharing within the group continues and stimulates the dialogue on the spirituality in the film story and 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.; .; film and other media

Main Objectives of the Film Dialogue • A better Christian understanding of media stories;; stories • A process of dialogue, confrontation and clarification;; clarification • Integration of life life-experiences;; experiences • Growth in religious and spiritual meanings; meanings; • 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 and what impact it makes to the viewers? How the audience receives the message? What triggers the pattern of interpreting the message? Why such impact differ from one receiver to the other receiver? 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.  

Extroversion 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.

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 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

‘Intuitive’ Type of Viewers

 Sensate will respond fully  Intuitive types don’t feel

to color, movement, the need to notice the forms. detail.  The more complex a  The more intuitive they screenplay is, the more are, the less detail they difficult it may be for the may notice. sensate to follow and they may want to give  A film which relies on up while the intuitive is sense detail or action may enthralled. not appeal to intuitive.

Making Decisions – Our Criteria Subjective “feeling”

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.

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. comedy. Sometimes it is just right.. Sometimes, it is right too much. 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 . . .

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