Media and

Spirituality thru Film

Dialogue
February 13, 2006
Notre Dame of Dadiangas College
General Santos City
Media and
Spirituality
 Media
•perspective,
•ideology,
•lifestyle, “ a way of life”
 Media
Is just a part
of a
COMMUNICATION
process…
 BERLO’S MODEL OF
COMMUNICATION (1961)

Sender Message Channel Receiver Effect

S M C R E

FEEDBAC
K
 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.

“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
 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 viewing
films?
IMPORTANCE OF FILM
What is your
purpose of
watching
films?
 Film and
Spirituality
Three Key Areas
• How do we understand
spirituality?
• Characteristics of film
language
• The dialogue concerning
spirituality in film
FILMS
Films tell stories and drama of all kinds. When
we view films, we engage, participate,
identify, reject, classify, enjoy evaluate,
digest and criticize.
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.
OR
Entertainment
True and genuine
entertainment is
something that
really satisfies and
help us be our
better selves.
Education

Education is not
information,
it is
transformation!
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.
• Always expressed in the
form of crucial life events.
• Always situated in
concrete socio-cultural
contexts, showing
confrontation.
Characteristics . . .

• Lived spirituality
• Audiovisualized life
journey.
• Film has 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. . .

• Dialogical
spirituality
Experience Film
Dialogue. . .
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.
 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..
 How do we do the film
dialogue?

• Take several minutes to digest

the film before giving the first
impressions. (Teachers should
preview films before screening
the film to students).

2. Groupings will be necessary for

the personal sharing of each
according to guide questions
given or direct the discussion to
where the group wanted and
agreed to.
 How to…?
3. A group
animator/facilitator must
be present to help
stimulate the discussion.

4. After the individual

sharing, the group must
come up with a synthesis.
This will be shared to the
bigger group.
 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.
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 . . .

Extrovert and
Introvert
Focal Points . . .

Deciders and data-

gatherers
Focal Points . . .

Sensate and
Intuitive
Focal Points . . .

Objective and
Subjective
FILM AND SENSITIVITIES:
Language, Sexual Issues and Violence

Film Sensitivity is a word

about which we are
sensitive. It indicates
how we are effected and
affected by what we see.
Area of Sensitivity
Area of Sensitivity . . .
Area of Sensitivity . . .
 Varying Aspects
of Human Sensitivity

Delicacy
• Formation
of a
‘delicate’
conscience
Aspects . . .

Fragility
• A sensitivity that
has been
overprotected; not
been exposed to
harsher human
realities.
 Aspects . . .
Robustness
• 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
• Wallows in what
Aspects . . . is ordinarily seen
as gratuitous is
‘crass’ or rude or
vulgar.
• Desensitization’
to language and
violence by
constant
exposure or by
overexposure.
Titus Brandsma Center - Media Program (TBCMP)
26 Acacia St., Brgy. Mariana, Cubao, Q. C. 1112
02-726-6054 / 02-725-8167 (fax) / 09217941407
http://pelikula-titusbrandsma.ph
tbcmedia@tri-isys.com
http://www.tbcmedia.org