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 isis..
“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 ‘Intuitive’ Type of
Viewers Viewers
Observe the detail of Not so precise with
time and place
details but can describe
Focus on the present a general theme.
Sensate types cannot
Notice the here and
quite appreciate how
the intuitive has not now but get an overall
noticed some crucial impression and then
detail right before their notice detail when they
eyes. 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
Prefer to be more
Want the truth and go emotionally involved in
over it with clear the issue.
principles and logic. Not so much a question
Detached view of what of true or false, black or
is true or false, of what white; they might be
we judge to be right or grey area.
wrong. Looking towards
Confident in the fairness goodness and harmony,
of the decisions we taking account of values
make. 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).
 Crassness
Aspects . . . The sensitivity not fine-
tuned 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