1. Mobile Media in
Ministry Strategy

2. Your ministry goals and
mobile media’s role in
achieving them
As table groups, discuss:
1) Your ministries’ main objective/goal
2) A way you could see mobile media
assisting in the achievement of that
objective/goal

3. A Biblical Basis
for Media in
Ministry (!?!)
Verses
Examples
Principles

4. A Biblical Basis
for Media in
Ministry (!?!)
Verses
Examples
Principles

5. The Christian religion itself is
a religion of communication
with a communicator God
who has utilized a wide
variety of media
Soggard Media in Church and Mission

6. Mobile Media and
Evangelism (including
“pre-Evangelism”)

8. 1. Prayer
2. Abundant Gospel sowing
3. Intentional church planting
4. Scriptural authority
5. Local leadership
6. Lay leadership
7. Cell or house churches
8. Churches planting churches
9. Rapid reproduction
10. Healthy churches

9. 1. Prayer
2. Abundant Gospel sowing
3. Intentional church planting
4. Scriptural authority
5. Local leadership
6. Lay leadership
7. Cell or house churches
8. Churches planting churches
9. Rapid reproduction
10. Healthy churches

10. In Church Planting Movements,
hundreds and even thousands of
individuals are hearing the
claims that Jesus Christ has on
their lives. This sowing often
relies heavily upon mass media
evangelism, but it always includes
personal evangelism with vivid
testimonies to the lifechanging
power of the gospel.

11. Fruitful
Practices

12. Fruitful Practice
Fruitful workers share the
gospel in ways that fit the
learning preferences of their
audience.

13. Orality
Illiterate
Functionally
Illiterate
Post-Literate
Non-Readers
Readers
Bible Readers

14. Enabling Storying

15. Mobile Media and
Discipleship

16. Fruitful Practice
Fruitful workers disciple
in locally appropriate and
reproducible ways.

17. “Phonesite” Outreach

19. CGNet Swara
(India)
Picture something like this being
done for discipleship and church
growth
http://www.youtube.com/watch?v=-ZJS7btg0R4

20. Fruitful Practice
Fruitful workers
disciple others in
settings that fit the
situation.

21. The Bible at Your
Fingertip

22. The only library some
will ever have
books
audio
video

23. Mobile Media and
Leadership
Development

24. Fruitful Practice
Fruitful workers prefer
to develop leaders
locally

25. 90% Leave

28. Media and the
Gathering/
Fellowshipping of
Believers
Your turn…

29. Media and the
Gathering/
Fellowshipping of
Believers
Your turn…

30. New media in a
new media
landscape

31. From Consumers

32. To “Prosumers”

33. A two-way street?

34. A two-way street?

35. Who do you believe?

36. Shirky Video
http://www.ted.com/talks/clay_shirky_how_cellphones_twitter_facebook_can_make_
history.html

37. A Couple Radical Thoughts
• What if media is less about persuading
and more about identifying? (Push vs.
Pull)
• What if the community-building and
response systems aspects are more
important than the actual content?
Courtesy Tom Khazoyan, 10X Productions, Adding Fizz to Your Vids
and Frank Preston, Push vs. Pull Media in Movements
(http://www.mobileministryforum.org/pullvspushmedia)

38. A Couple Radical Thoughts
• What if media is less about persuading
and more about identifying? (Push vs.
Pull)
• What if the community-building and
response systems aspects are more
important than the actual content?
Courtesy Adding Fizz to Your Vids (conference presentations) and
Frank Preston, Push vs. Pull Media in Movements
(http://www.mobileministryforum.org/pullvspushmedia)

39. Appropriate Media
Subject Matter:
• Does it address their needs/concerns or
ours?
 Heaven as hell for a Buddhist
Presentation:
• Are there elements that call out the media
as foreign/”other”
 Is Jesus a white man?
 Are closing credits in English helpful?

40. Appropriate Media
Subject Matter:
• Does it address their needs/concerns or
ours?
 Heaven as hell for a Buddhist
Presentation:
• Are there elements that call out the media
as foreign/”other”
 Is Jesus a white man?
 Are closing credits in English helpful?

41. Appropriate Media
Subject Matter:
• Does it address their needs/concerns or
ours?
 Heaven as hell for a Buddhist
Presentation:
• Are there elements that call out the media
as foreign/”other”
 Is Jesus a white man?
 Are closing credits in English helpful?

42. Appropriate Media
Subject Matter:
• Does it address their needs/concerns or
ours?
 Heaven as hell for a Buddhist
Presentation:
• Are there elements that call out the media
as foreign/”other”
 Is Jesus a white man?
 Are closing credits in English helpful?

43. Appropriate Media
Subject Matter:
• Does it address their needs/concerns or
ours?
 Heaven as hell for a Buddhist
Presentation:
• Are there elements that call out the media
as foreign/”other”
 Is Jesus a white man?
 Are closing credits in English helpful?

44. Appropriate Media
Presentation (continued):
• Are there elements of the presentation
that send a message other than the one
we want them to “hear”?

45. While watching the "JESUS" film in the
forest region of Guinea, West Africa,
audiences are reported to have understood
Jesus as a successful traditional priest or
marabout. From their cultural context it is
obvious to them that Jesus keeps his
fetishes, from which he draws his powers, in
the bag he carries with him. (Wiher 1997:70)
Merz, Johannes Translation and the Visual Predicament of the ''JESUS'' Film in West Africa
http://mis.sagepub.com/content/38/2/111.full.pdf

46. Particularly during the time of his ministry, Jesus is depicted as
exemplary and immaculate, merging the conventions of Hollywood
with the evangelical pietistic tradition. The makers seem to have
tried to remain as neutral, and for that reason inexpressive, as they
can, creating an image of human distance
Merz, Johannes Translation and the Visual Predicament of the ''JESUS'' Film in West Africa
http://mis.sagepub.com/content/38/2/111.full.pdf

48. Appropriate Media
Presentation (continued):
• Is it orally/visually appropriate for them?
each culture has its own form of art, and hence
its own visual language: "the transposer [of
Scripture to film] must therefore know all about
the art of the culture of the people he is trying
to communicate to"
Merz, Johannes Translation and the Visual Predicament of the ''JESUS'' Film in West Africa
http://mis.sagepub.com/content/38/2/111.full.pdf

49. Film reproduces visual cultural symbols
that become part of the visual language
of film that can be easily read and
directly understood by an audience who
shares the same cultural and ideological
background as the filmmaker. The
shared context between filmmaker and
audience allows the latter to infer the
intended meaning of a film to a high
degree
Merz, Johannes Translation and the Visual Predicament of the ''JESUS'' Film in West Africa
http://mis.sagepub.com/content/38/2/111.full.pdf

51. An in-depth and systematic
explanation of how the skills
bound up with alphabetic
literacy shape visual narrative-
and how an unavailability or
dismissal of these skills
fundamentally shapes visual
narrative, too.
http://www.film-philosophy.com/index.php/f-p/article/view/896/841

52. Perhaps nothing could be more foreign to audiences
accustomed to the ambiguity and restraint of Western
(European and American) art cinema than the
exaggerated emotionality and tortuous narratives of
Hindi film. Spontaneous musical interludes, bombastic
declarations of love and revenge and camerawork
amplified to reinforce the extremities of emotional
intensity and physical violence featured in the
narrative would only be employed in an ironic sense in
most films produced in the West, where subtlety and
ambiguity are often the hallmarks of artistic worth. A
lack of mutual appreciation, and even of basic
comprehension, often exists between these two
widely disparate forms of cinema and their
respective audiences
http://www.film-philosophy.com/index.php/f-p/article/view/896/841

53. • Oral films are non-utilitarian in structure, with
many digressions that do little to further the
plot.
• Their tone is exaggerated and melodramatic,
and they are often employed in the espousal
of conservative ideology.
• Oral modes of communication impart
knowledge that cannot be preserved in print,
and are thus geared towards making
information as easy to absorb as possible;
hence the hyperbolic cinematographic style
and simplistic ideology of orally-inflected films
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

54. • Oral films are non-utilitarian in structure, with
many digressions that do little to further the
plot.
• Their tone is exaggerated and melodramatic,
and they are often employed in the espousal
of conservative ideology.
• Oral modes of communication impart
knowledge that cannot be preserved in print,
and are thus geared towards making
information as easy to absorb as possible;
hence the hyperbolic cinematographic style
and simplistic ideology of orally-inflected films
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

55. • Oral films are non-utilitarian in structure, with
many digressions that do little to further the
plot.
• Their tone is exaggerated and melodramatic,
and they are often employed in the espousal
of conservative ideology.
• Oral modes of communication impart
knowledge that cannot be preserved in print,
and are thus geared towards making
information as easy to absorb as possible;
hence the hyperbolic cinematographic style
and simplistic ideology of orally-inflected films
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

56. • Oral films are non-utilitarian in structure, with
many digressions that do little to further the
plot.
• Their tone is exaggerated and melodramatic,
and they are often employed in the espousal
of conservative ideology.
• Oral modes of communication impart
knowledge that cannot be preserved in print,
and are thus geared towards making
information as easy to absorb as possible;
hence the hyperbolic cinematographic style
and simplistic ideology of orally-inflected films
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

57. • Oral films are non-utilitarian in structure, with
many digressions that do little to further the
plot.
• Their tone is exaggerated and melodramatic,
and they are often employed in the espousal
of conservative ideology.
• Oral modes of communication impart
knowledge that cannot be preserved in print,
and are thus geared towards making
information as easy to absorb as possible;
hence the hyperbolic cinematographic style
and simplistic ideology of orally-inflected films
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

58. • Exaggeration and repetition of character traits
and actions within masala films render their
stories easier to remember and more enjoyable
for illiterate viewers, who are accustomed to
acquiring and maintaining information through
processes of verbal reiteration rather than
relying on written records as the basis of
knowledge.
• Stereotyped characters (such as flawless
heroes, irredeemably evil villains and chaste
and beautiful princesses) reflect the Manichean
structure of oral narratives, in which a clearly
defined moral universe aids in understanding
and retention
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

59. • Exaggeration and repetition of character traits
and actions within masala films render their
stories easier to remember and more enjoyable
for illiterate viewers, who are accustomed to
acquiring and maintaining information through
processes of verbal reiteration rather than
relying on written records as the basis of
knowledge.
• Stereotyped characters (such as flawless
heroes, irredeemably evil villains and chaste
and beautiful princesses) reflect the Manichean
structure of oral narratives, in which a clearly
defined moral universe aids in understanding
and retention
Sheila J. Nayar (2010) Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative

60. Two questions that must be
answered before starting a
media project
1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status

61. Two questions that must be
answered before starting a
media project
1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status

62. Two questions that must be
answered before starting a
media project
1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status

63. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

64. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

65. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

66. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

67. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

68. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

69. 1) Who is the intended audience?
The more specific you can get the better:
- Ethnicity - Age group - Location
- Occupation - Media preferences
- Spiritual status (disinterested, curious, seeker,
engaged, involved)
- Socio-economic status
Two questions that must be
answered before starting a
media project

70. 2) What do you want them to
feel, think, value or do after
experiencing your media
project?
The more specific you can get the better
Two questions that must be
answered before starting a
media project

71. Mobile Media Project
Worksheets
•Purpose of this exercise
•Worksheet walk-through and
questions

72. In your table groups share
the project you have begun
outlining and, as a group,
brainstorm ideas that could
help each project have
maximum effectiveness

74. Visual Narrative
Structure and Form
Oral
• Flashbacks and
digressions that may or
may not advance a
normative plot
• Repetition, recycling,
formula privileging
• Spectacle (flat surface- a
“cinema of attractions”)
• Narrative closure (no
ambivalent or open
endings)
Literate
• The use of a normative
plot involving the three
act structure and Freytag
pyramid of action
• Originality
• Anti-spectacle
• Lack of narrative closure
(ambivalent endings,
open endings) Nayar
Cinematically
Speaking p121

75. Oral
• Flashbacks and
digressions that may or
may not advance a
normative plot
• Repetition, recycling,
formula privileging
• Spectacle (flat surface- a
“cinema of attractions”)
• Narrative closure (no
ambivalent or open
endings)
Literate
• The use of a normative
plot involving the three
act structure and Freytag
pyramid of action
• Originality
• Anti-spectacle
• Lack of narrative closure
(ambivalent endings,
open endings)
Nayar Cinematically Speaking p121
Visual Narrative
Structure and Form

76. Oral
• Flashbacks and
digressions that may or
may not advance a
normative plot
• Repetition, recycling,
formula privileging
• Spectacle (flat surface- a
“cinema of attractions”)
• Narrative closure (no
ambivalent or open
endings)
Literate
• The use of a normative
plot involving the three
act structure and Freytag
pyramid of action
• Originality
• Anti-spectacle
• Lack of narrative closure
(ambivalent endings,
open endings)
Nayar Cinematically Speaking p121
Visual Narrative
Structure and Form

77. Oral
• Flashbacks and
digressions that may or
may not advance a
normative plot
• Repetition, recycling,
formula privileging
• Spectacle (flat surface- a
“cinema of attractions”)
• Narrative closure (no
ambivalent or open
endings)
Literate
• The use of a normative
plot involving the three
act structure and Freytag
pyramid of action
• Originality
• Anti-spectacle
• Lack of narrative closure
(ambivalent endings,
open endings)
Nayar Cinematically Speaking p121
Visual Narrative
Structure and Form

78. Visual Narrative
Visual, Verbal and Aural Tone
Oral
• Inflated melodrama
violence
• Amplified
characters and
settings
• Frontality
(obviousness)
Literate
• Restraint/quietude
• Understated
“nuanced”
characters and
settings
• Nuance and
subtlety
Nayar Cinematically Speaking p121

79. Visual Narrative
Visual, Verbal and Aural Tone
Oral
• Inflated melodrama
violence
• Amplified
characters and
settings
• Frontality
(obviousness)
Literate
• Restraint/quietude
• Understated
“nuanced”
characters and
settings
• Nuance and
subtlety
Nayar Cinematically Speaking p121

80. Visual Narrative
Visual, Verbal and Aural Tone
Oral
• Inflated melodrama
violence
• Amplified
characters and
settings
• Frontality
(obviousness)
Literate
• Restraint/quietude
• Understated
“nuanced”
characters and
settings
• Nuance and
subtlety
Nayar Cinematically Speaking p121

81. Visual Narrative
Visual, Verbal and Aural Tone
Oral
• Redundancy/
repetition
• Use of cliches,
proverbs
• Plain meanings
Literate
• Restraint and non-
redundancy
• Lack of “formulaic”
language
• Ambiguous
meanings that must
be deduced
Nayar Cinematically Speaking p121

82. Visual Narrative
Visual, Verbal and Aural Tone
Oral
• Redundancy/
repetition
• Use of cliches,
proverbs
• Plain meanings
Literate
• Restraint and non-
redundancy
• Lack of “formulaic”
language
• Ambiguous
meanings that must
be deduced
Nayar Cinematically Speaking p121

83. Visual Narrative
Visual, Verbal and Aural Tone
Oral
• Redundancy/
repetition
• Use of cliches,
proverbs
• Plain meanings
Literate
• Restraint and non-
redundancy
• Lack of “formulaic”
language
• Ambiguous
meanings that must
be deduced
Nayar Cinematically Speaking p121

84. Visual Narrative
Worldview and Orientation
Oral
• Polarized/Black and
White
• Non-psychological
orientation
• Concerned solely
with present events
Literate
• Non-polarized/
Grayness
• Psychological
orientation
• Concerned with
historical factors
effecting present
Nayar Cinematically Speaking p121

85. Visual Narrative
Worldview and Orientation
Oral
• Polarized/Black and
White
• Non-psychological
orientation
• Concerned solely
with present events
Literate
• Non-polarized/
Grayness
• Psychological
orientation
• Concerned with
historical factors
effecting present
Nayar Cinematically Speaking p121

86. Visual Narrative
Worldview and Orientation
Oral
• Polarized/Black and
White
• Non-psychological
orientation
• Concerned solely
with present events
Literate
• Non-polarized/
Grayness
• Psychological
orientation
• Concerned with
historical factors
effecting present
Nayar Cinematically Speaking p121