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CT2010: Dialogue session 2 - Worldviews, film analysis and the gospel

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CT2010: Dialogue session 2 - Worldviews, film analysis and the gospel

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The second of four sessions by Margunn Serigstad Dahle of Gimlekollen School of Journalism and Communications, Norway, and Tony Watkins of Damaris Trust, UK, on popular culture at the Third Lausanne Congress, Cape Town, October 2010.

The second of four sessions by Margunn Serigstad Dahle of Gimlekollen School of Journalism and Communications, Norway, and Tony Watkins of Damaris Trust, UK, on popular culture at the Third Lausanne Congress, Cape Town, October 2010.

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CT2010: Dialogue session 2 - Worldviews, film analysis and the gospel

  1. 1. Worldviews, Film Analysis and the Gospel: Finding points of contact/tension Margunn Serigstad Dahle,Tony Watkins and Lars Dahle
  2. 2. The way to deal with the challenge of the media is to be better at understanding it than anyone else, and to be able to relate it God’s word.
  3. 3. If we can develop our capacity for double listening, we will avoid the opposite pitfalls of unfaithfulness and irrelevance, and be able to speak God’s Word to God’s world with effectiveness today. John Stott
  4. 4. global village (Marshall McLuhan)
  5. 5. The pervasive influence of entertainment media
  6. 6. The moving picture has become a preacher, and its sermons are most effective because they are addressed to the eye rather than to the ear. K.S. Hover, 1911
  7. 7. cinema
  8. 8. Film is the most significant and powerful of today’s media. DavidThompson
  9. 9. The moving images stirs our emotions rather than engaging our minds. Ingmar Bergman
  10. 10. More is said than what is spoken. David Porter
  11. 11. All stories teach, whether the storyteller intends them to or not.They teach the world we create.They teach the morality we live by.They teach it much more effectively than moral precepts and instructions. Philip Pullman
  12. 12. Film is a global factor in shaping young people’s perspectives
  13. 13. Traditionally, most philosophical investigation took place in the universities, and most spiritual reflection took place in the churches. However, in recent years that seems to have changed. Now, arguably, most philosophical investigation and spiritual reflection takes place in the cinema. Nick Pollard
  14. 14. Surface Middle Deep see it as entertainment realise that there is a message realise traces of worldviews
  15. 15. critical analysis is crucial
  16. 16. Our double identity: disciples and witnesses John 17
  17. 17. Worldviews
  18. 18. [Everyone] has a worldview.Whenever any of us thinks about anything – from a casual thought (Where did I leave my watch?) to a profound question (Who am I?) – we are operating within such a framework. In fact, it is only the assumption of a worldview – however basic or simple- that allows us to think at all. James Sire
  19. 19. A worldview is a commitment, a fundamental orientation of the heart, that can be expressed as a story or in a set of presuppositions (assumptions which may be true, partially true or entirely false) which we hold (consciously or subconsciously, consistently or inconsistently) about the basic constitution of reality, and that provides the foundation on which we live and move and have our being. James Sire, Naming the Elephant, p. 122 19
  20. 20. 19 A worldview is a commitment, a fundamental orientation of the heart, that can be expressed as a story or in a set of presuppositions (assumptions which may be true, partially true or entirely false) which we hold (consciously or subconsciously, consistently or inconsistently) about the basic constitution of reality, and that provides the foundation on which we live and move and have our being. James Sire, Naming the Elephant, p. 122
  21. 21. ‘. . . that can be expressed as a story . . .’ finding traces of the worldview-story behind or within the fictional story
  22. 22. finding point of contact/tension
  23. 23. ? What do we mean by ‘points of contact’ and ‘points of tension’ when comparing a movie with the biblical worldview? What examples can you think of?
  24. 24. ? What do we mean by ‘points of contact’ and ‘points of tension’ when comparing a movie with the biblical worldview? What examples can you think of?
  25. 25. How do we respond?
  26. 26. 5 dimensions to think about
  27. 27. Aesthetics
  28. 28. Emotions
  29. 29. 27 morality
  30. 30. beliefs
  31. 31. spirituality
  32. 32. Worldviews like maps 30
  33. 33. Worldviews like maps 30
  34. 34. 31
  35. 35. 31 salvation
  36. 36. Questions to ask when watching a movie
  37. 37. How did the film make you feel?
  38. 38. What causes the major turning points in the film? Why does it end in this way?
  39. 39. What do the main characters want? What stands in their way?
  40. 40. Why do the characters make particular choices?
  41. 41. Whose point of view do we see?
  42. 42. What do the film-makers want us to take away from this film?
  43. 43. What is the underlying theme of the film?
  44. 44. What impact will it have on viewers?
  45. 45. WORLDVIEWS 41
  46. 46. reality 42
  47. 47. What does this film suggest about the nature of reality?
  48. 48. humanity 44
  49. 49. What does it suggest about the nature of human beings?
  50. 50. How is the image of God seen? How is human rebellion expressed?
  51. 51. knowledge 47
  52. 52. What does it say about truth, knowledge and wisdom?
  53. 53. morality 49
  54. 54. What does it say about morality and ethics?
  55. 55. What’s the solution to our most basic need? 51
  56. 56. What does it suggest that human beings need above all?
  57. 57. points of contact
  58. 58. points of tension
  59. 59. celebrate / challenge
  60. 60. challenges . . .
  61. 61. Do not conform any longer to the pattern of this world, but be transformed by the renewing of your mind . . . Romans 12:2a . . . as disciples of Christ
  62. 62. Be wise in the way you act towards outsiders; make the most of every opportunity. Colossians 4:5 . . . as witnesses for Christ
  63. 63. ? How do we understand the major worldview challenges in influential recent movies as represented in our own cultural contexts?
  64. 64. ? How do we understand the major worldview challenges in influential recent movies as represented in our own cultural contexts? What kind of educational material (on film analysis) do we need to develop in our cultural contexts?
  65. 65. www.damaris.org / www.damaris.no www.engagingmedia.info www.culturewatch.org www.tonywatkins.org twitter.com/tonywatkins_ facebook.com/tonywatkinspage

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