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 24-
24-28, 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)
tbcmedia@tri-isys.com
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 Message Channel Receiver Effect

S M C R E

FEEDBAC
K
 FORMS OF MEDIA
PRINT GROUP
BROADCAST FOLK/TRADITIONAL
ELECTRONIC NON-MEDIA
 FOLK/TRADITIONAL MEDIA
• Dance
• Rituals • Praise singers
• Drama • Meetings
• Story-telling • Songs
• Ballads • Popular theatre
• Chanters • Drums
• Flute • The gong
GROUP/VISUAL MEDIA
• slides
• flip charts
• extension /
• poster
information kits
• stickers
• blackboard
• banners
• bulletin board
• billboards (on public
transport) • maps/charts/diagrams
• Photos • wall paintings
• journals • stamps
• video productions
• public debates
PRINT
• Newspapers • Manuals

• Magazines
• 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
• Public meetings and workshops
• games/contests • folk theatre, case
• Group discussion study
• role playing • Demonstration
• 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 • Comedy
• Horror • “Adult”
• Adventure • Cartoons
• Sci--Fi
Sci • Animation
• Drama • 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 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. 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 divine-
divine-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.
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 beingbeing.. 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. 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.
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 now but get an overall
the intuitive has not impression and then
noticed some crucial notice detail when they
detail right before their are relevant.
eyes.
 Preferred Way of Observing –
Impact on the Senses
‘Sensate’ Type of ‘Intuitive’ Type of
Viewers 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
difficult it may be for the are, the less detail they
sensate to follow and may notice.
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
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.
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).
 Crassness
• The sensitivity not fine-
tuned but wallows in
Aspects . . . 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