100-field | fifty-retur | revea-young
bold = Main text
Part, Theme, Chapter grey = Comment text
1 I, 3,7 | Communio et Progressio, 63-100; Aetatis Novae, 13).~III.
2 I, 3,7 | Communio et Progressio, 135-160; Aetatis Novae, 31).~ ~ ~
3 I, 3,3 | Audio-visual and Faith, p. 143).~b) Second stage:~Objective:
4 I, 3,7 | Communio et Progressio, 135-160; Aetatis Novae, 31).~ ~ ~
5 II, 1 | which were filmed before 1915.~But it is obvious that
6 II, 1 | films such as The Fugitive (1947) by John Ford, The diàry
7 II, 1 | diàry of a country curate (1950) by Robert Bresson, and
8 II, 1 | similar in his film I confess (1953). The proximity of the dates
9 II, 1 | Bresson, and The Nazarene (1958) by Luis Buñuel. Alfred
10 I, 2,Intro| disclosed... "~(Mark 4, 21-22)~We know that when Jesus
11 I, 3,1 | and selfcontrol"(Gal.5, 22-23). The child needs the experience
12 I,Intro | cinema (cfr. AN, nos 13, 14 & 28). In response to this call,
13 I, 3,7 | 135-160; Aetatis Novae, 31).~ ~ ~
14 I, 3,7 | Communio et Progressio, 63-100; Aetatis Novae, 13).~
15 I, 3,6 | survey carried out in France 75 percent of audiovisual teaching
16 I, 3,6 | agenda which can later be abandoned if fruitful debate develops
17 I, 3,1 | reflect" to the best of their ability?~--Have we ever thought
18 I, 1 | their growing knowledge, not absorb it passively through the
19 I, 3,2 | and are more accustomed to absorbing audio-visual language than
20 I, 2,Pre | when they are presented in abstract form. Sometimes, when the
21 II, 1 | divine intervention, with an abundant use of special effects?
22 I, 1 | continuing passively to accept their message.~B) The psychological
23 I, 2,Intro| entertaining and therefore easily acceptable.~For example, he knew fishermen
24 II, 1 | culture now universally accepted; even in its more provocative
25 I, 2,Pre | own sound/music track to accompany the visual images.~3. Optional
26 I,Intro | well known that this desire accords with the appeal made in
27 I, 3,2 | great intuition and are more accustomed to absorbing audio-visual
28 I,Intro | observations on the various keys to achieving a critical approach to and
29 I,Intro | no less precise duty to acquaint them with such values, using
30 I, 3,2 | enlightened, helping them to acquire stability and to respond
31 I, 2,Pre | out a close-up showing the actor/character's importance in
32 I, 1 | director, screen-writer(s) and actors, and extracts from press
33 I, 3,1 | trust in others, little acts of kindness, respect for
34 I, 2,Pre | noise, we did not see the actual moment of impact.~How do
35 | actually
36 I, 1 | themes: where the film is an adaptation of a book or a stage play,
37 II, 1 | of historical characters, adaptations of great masterpieces of
38 I, 1 | questionnaire, generally addressed to the younger viewer, sets
39 II, 1 | films are not restricted to addressing the question of values in
40 I, 1 | Examples:~a) Give five adjectives describing the character
41 I, 3,1 | wonder, their first excited admiration for things, people, animals,
42 I, 2,Pre | see it in a character they admire, in a story in which they
43 II, 1 | together with their universally admired films. Like the great artists
44 I, 2,Pre | on the individual child/adolescent and on the groups.~* Encourage
45 I, 3,5 | provided our young people adopt an active and personal attitude
46 I, 2,Pre | the techniques frequently adopted by the audio-visual media.~
47 I, 3,5 | behaviour? What are its advantages and drawbacks?~When you
48 II, 1 | literature and popular theatre (adventure stories, dramas of passion,
49 I, 3,7 | spiritual values (when not advocating outright atheism);~--Misinformation:
50 I, 3,6 | viewing the media according to aesthetic, moral and spiritual criteria?~
51 I, 3,1 | television on at full blast can affect their nerves? or that uncontrolled
52 I, 3,1 | children enjoy their rights.~* Affection:~It is always the "couple",
53 II, 1 | nevertheless have certain important affinities with Christian culture,
54 I, 2,Pre | contains is a decisive step in affirming certain values as higher
55 II, 1 | world such as Latin America, Africa or the Middle East, where
56 II, 1 | products ranging from the aftermath of the French Nouvelle Vague
57 I, 3,3 | questions suited to their age-level;~2. Join with them in evaluating
58 I, 2,Pre | big cat".~Some groups or age-levels may be able to recognize
59 I, 3,4 | guitar (or piano, etc)~--Age-limit or division into age-groups~--
60 I, 3,6 | etc. and prepare a brief agenda which can later be abandoned
61 I, 3,5 | find the one which they agree appears most frequently.
62 I, 3,7 | techniques should be used to aid the development of humankind:
63 I, 3,3 | stages, each with a specific aim, but at the same time it
64 II, 1 | Nazarene (1958) by Luis Buñuel. Alfred Hitchcock also did something
65 II, 1 | traditions have been kept alive in certain places (such
66 I, 1 | with their children if they allow them to stay up late. Due
67 I, 2,Intro| old. A medium which has allowed twentieth century man to
68 I, 2,Pre | the beginning of a film allows us to analyse the way the
69 II, 1 | means of the indirect and allusive use of symbolic language,
70 | alone
71 II, 1 | demands of his personal style alongside those of the film industry.~
72 | already
73 II, 1 | ancient axiom: Sacerdos alter Christus.~One can recall,
74 | although
75 II, 1 | they can be considered as ambassadors, to other cultures, of a
76 I, 3,2 | of it (valid? negative? amoral? biased?);~d) Get them to
77 I, 3,4 | for all ages. They offer ample space for invention and
78 I, 2,Pre | cartoon), if they see it for amusement, and explain that, in that
79 I, 3,5 | is a fundamental stage in analysing how the medium works. Each
80 II, 1 | Europe, should now be added Andrej Tarkowski and Kristof Kieslowski,
81 I, 3,1 | admiration for things, people, animals, are their first steps towards
82 II, 1 | sense of the greater unity animating the created universe. Robert
83 I, 3,4 | parishes, with no advance announcement of the following week's
84 II, 1 | Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier
85 I, 2,Pre | their own, reflecting their anxieties or their fantasies.~Tell
86 II, 1 | metalinguistic ferment and tense with anxiety to test and redefine the
87 | anything
88 I, 1 | think of Geronimo, the Apache, until recently portrayed
89 I, 2,Pre | cardboard, with the lens aperture on one side and the window
90 II, 1 | threatening clouds of an impending Apoclaypse, while the unconventional
91 I, 1 | television as a normal household appliance, regardless of what it transmits;
92 I, 2,Pre | contribute to the working out and application of ideas;~-stimulating research
93 II, 1 | the resources of art. This applies to many films which have
94 I, 3,2 | should all be studied and appraised;~Also the words and music
95 I, 2,Intro| the viewer to extract and appreciate the true values, to separate
96 I, 3,5 | enslaved to the media while appreciating the good things they offer.~
97 I, 3,5 | through hearing that we apprehend the world. The panels they
98 II, 1 | time invent new ways of approaching a reality outwardly manifested
99 I, 1 | cinema, since films have approximately eight months of intense
100 II, 1 | said of films from other areas of the world such as Latin
101 I, 1 | period.~This problem does not arise in circuit cinema, since
102 I, 3,3 | scenes that particularly aroused their attention;~3. Guide
103 I, 2,Pre | and the feelings the story arouses, and what actually happens
104 I, 2,Pre | the importance of music in arousing feelings and reactions.
105 I, 3,6 | various members, to make arrangements for the round table and
106 II, 1 | manifestations it demands calm and articulate answers. But perhaps, before
107 II, 1 | in moments of surpassing artistry? The film has indeed done
108 II, 1 | admired films. Like the great artists and men of letters of past
109 II, 1 | be compared to the other arts, understood as privileged
110 I, 3,6 | questions could also be asked:~-Was there any particular
111 II, 1 | answers. But perhaps, before asking for answers, the cinema
112 I, 1 | from 9 to 14 years of age, asks the child to provide the
113 I, 3,6 | The parents should first assess the results of the surveys,
114 I,Intro | teachers~6. For parents' associations~7. For groups of adults
115 I, 3,7 | not advocating outright atheism);~--Misinformation: ignoring
116 II, 1 | American cinema, born on the Atlantic coast as opposed to the
117 I, 3,5 | songs with various kinds of "atmosphere" - for example, a protest
118 I,Intro | texts which make up the attached document.~1. An introductory
119 II, 1 | ourselves, even recently, under attack by those who feel their
120 I, 1 | in the other opposed and attacked (think of Geronimo, the
121 I, 2,Pre | period of time listening attentively to the sounds around them,
122 I, 3,4 | surprise is always a great attraction), and would be prepared
123 I, 1 | greater part of today's cinema audience is made up of young people.~
124 I, 3,6 | in France 75 percent of audiovisual teaching aids are never
125 I,Intro | competitions, etc. - can be augmented by the local people themselves.
126 I, 1 | fact, why and how did the author/director decide to commit
127 I,Intro | would be for each teaching authority to create its own training
128 I, 1 | relationship between the two authors; where it is based on a
129 I, 2,Pre | masks would be useful, if available.) Study the chosen "frames"
130 II, 1 | saw the phenomenon of the avant-garde cinema, closely related
131 I, 1 | want to see a film. The average age of the cinema-goer in
132 I, 3,6 | could be very useful. (To avoid any sense of reproof, it
133 | away
134 II, 1 | his life to the ancient axiom: Sacerdos alter Christus.~
135 I, 1 | Schramm describe the TV as a baby-sitter), and, at first, most probably
136 I, 2,Pre | attention to the "Electronic Babysitter", helping them to see its
137 II, 1 | popular religious dramas going back to the Middle Ages, whose
138 I, 2,Pre | environment and use it as a background for contrasting fictional
139 I, 1 | negative character (the baddie)?~c) After the children
140 I, 3,4 | well.~III. SONG CONTESTS~Basic premise: the spiritual message
141 II, 1 | such as Oberammergau in Bavaria) right up to the present
142 I, 2,Intro| however, can also be a bearer of negative messages, a
143 II, 1 | figure of the priest, who bears witness in his life to the
144 I, 3,1 | Do we surround them with beautiful things?~--Do we educate
145 | became
146 I, 2,Intro| brought in to be put under the bed? No, it is put on the lampstand.
147 II, 1 | film industry.~Since its beginnings, in addition to well-tried
148 I, 3,5 | values in the mass media.~We believe that the mass media can
149 I, 3,6 | idea of the intellectual benefit our children receive from
150 II, 1 | objectivity? Or is it not better to think that transcendency
151 II, 1 | the masses, dealing with biblical, christological or hagiographic
152 I, 1 | synopsis of the story, biographical notes concerning the director,
153 II, 1 | and other directors gave birth to a new and original style
154 I,Intro | celebrates its one hundredth birthday. It is well known that this
155 I, 3,5 | all these pictures, on the blackboard or any kind of panel.~2.
156 I, 3,1 | or television on at full blast can affect their nerves?
157 I, 3,7 | unattractive aspect, which is then blown up into something sensational,
158 I, 3,5 | Conflicts~Taking Risks~The Body~Work~The Community~~~~Sport~
159 I, 3,1 | from spiritual values by bombarding them with images that exalt
160 I, 1 | film is an adaptation of a book or a stage play, what is
161 II, 1 | kind of movie was really booming.~We may ask ourselves, at
162 II, 1 | close-ups, figures on the borderline between the human and the
163 II, 1 | the new American cinema, born on the Atlantic coast as
164 I,Intro | not only to their daily bread and a healthy environment
165 II, 1 | curate (1950) by Robert Bresson, and The Nazarene (1958)
166 II, 1 | these lines.~The need for brevity prevents the continuation
167 I, 2,Pre | interests contribute to a broader vision leading to enrichment
168 I, 3,7 | they live by, what they are building, what they seek.~3. The
169 I, 1 | false" narration has been built up.~D) The general information
170 II, 1 | Nazarene (1958) by Luis Buñuel. Alfred Hitchcock also did
171 II, 1 | picture industry became Big Business and since the second decade
172 I, 2,Pre | various objects such as buttons, glass marbles, etc. and
173 I, 2,Pre | by the group itself;~* To calculate what influence the media
174 I, 1 | small screen. It has been calculated that Italy's combined TV
175 I,Intro | 28). In response to this call, groups of specialists from
176 II, 1 | masses was not immediate but came with time, as a result of
177 I, 3,7 | one-sided public opinion campaigns (e.g. against the celibacy
178 I,Intro | mentality... and the material capabilities prevailing. In some places
179 II, 1 | competing with each other to capture in the life of humanity
180 II, 1 | human and the superhuman, captured in moments of surpassing
181 II, 1 | observation that nevertheless captures a sense of the greater unity
182 I, 3 (2) | well be used, e.g. freedom, careers, sport, joy, loyalty, etc.~~~~~~
183 I, 3,6 | according to a recent survey carried out in France 75 percent
184 I, 2,Pre | characters in film stories and cartoons into two categories, the
185 I, 1 | information about a film: cast, artistic and technical
186 I, 2,Pre | mouse making fun of the big cat".~Some groups or age-levels
187 II, 1 | Ivens, have been able to catch with the movie camera the
188 I, 3,3 | II. DEVELOPMENT~This catechetical activity is intended to
189 I, 2,Pre | stories and cartoons into two categories, the good and the bad. Compare
190 I, 3,4 | publicity, in the diocesan cathedral on the Day.~
191 I,Intro | group of experts from the Catholic University of Uruguay, collaborators
192 II, 1 | University~Writer for "Civiltà Cattolica"~~~ ~ ~~ ~~~
193 I, 2,Pre | etc. Young people can be caught defending self-denial when
194 I, 3,4 | Pre-arranged locale~Prizes: guitar, CDs, tape recorders, etc., depending
195 I,Intro | Picture, which this year celebrates its one hundredth birthday.
196 I, 3,6 | of the anniversary we are celebrating.~V. SOME SUGGESTIONS FOR
197 I, 3,7 | campaigns (e.g. against the celibacy of the priesthood); exploitation
198 II, 1 | force in Hollywood. Other centres of film production, situated
199 II, 1 | and men of letters of past centuries, they can be considered
200 I,Intro | particular case, of the cinema (cfr. AN, nos 13, 14 & 28). In
201 I, 2,Intro| separate the wheat from the chaff.~
202 I, 3,6 | the school~-a chaplain~-a chairperson~-a representative of the
203 I, 3,4 | appeal because they are a challenge for all ages. They offer
204 II, 1 | feel their own convictions challenged. One wonders, in cases like
205 I, 2,Pre | creativity permit.~The more chance we give children to talk
206 I, 2,Pre | with real life, the more chances we give them to exercise
207 I, 1 | the television machine, to change channels and, if there is
208 I, 2,Pre | Every teacher can make changes or try out all the combinations
209 I, 1 | particular day on a specific channel as homework, or, best of
210 I, 3,6 | Headmistress of the school~-a chaplain~-a chairperson~-a representative
211 II, 1 | constitute an important chapter in the early history of
212 I, 1 | films, get them to state the characteristics which the three heroes (
213 II, 1 | there are many, are mainly characterized, with regard to the visual
214 I, 1 | portrayed with ridiculous chauvinism by US film-makers and today
215 II, 1 | come from the new cinema in China.~Then, of course, there
216 I, 3,1 | standards do we apply when choosing television programmes?~--
217 II, 1 | dealing with biblical, christological or hagiographic subjects
218 II, 1 | ancient axiom: Sacerdos alter Christus.~One can recall, in this
219 I, 3,7 | religious values (religions, churches) have the right to be presented
220 I, 1 | The average age of the cinema-goer in the USA is nineteen,
221 I, 1 | not only with regard to cinema-on-TV but also with regard to
222 II, 1 | among the masterpieces of cinematographic art? To what extent are
223 I, 1 | problem does not arise in circuit cinema, since films have
224 I, 3,3 | critical attitude towards the "civilization of the image", in which
225 II, 1 | resources of the ancient civilizations of the Orient. Brief though
226 II, 1 | Pontifical University~Writer for "Civiltà Cattolica"~~~ ~ ~~ ~~~
227 I, 2,Intro| to him with exceptional clarity.~Since the cinema, however,
228 II, 1 | masterpieces of literature and classical theatre. Among these have
229 I, 3,3 | Objective: to make the group clearly aware that THROUGH THE IMAGE
230 II, 1 | more authentic for being cloaked by an instinctive modesty.
231 I, 2,Pre | may lead to picking out a close-up showing the actor/character'
232 II, 1 | on the screen in vibrant close-ups, figures on the borderline
233 II, 1 | the avant-garde cinema, closely related to the surrealist
234 I, 3,2 | cinema films but is also closer to everyday life, more capable
235 II, 1 | streaked with the threatening clouds of an impending Apoclaypse,
236 I, 1 | which can also serve as clues to a deeper understanding
237 II, 1 | cinema, born on the Atlantic coast as opposed to the old Hollywood.~
238 I, 2,Pre | knowledge of audio-visual codes by making a video film.~
239 I, 3,2 | Christian choices free from the coercion of false values, and to
240 I, 3,7 | promote religious values;~--Collaborate on an ecumenical basis,
241 I,Intro | Catholic University of Uruguay, collaborators on the "Plan Deni", for
242 I, 3,2 | Organize the making of a collage on the theme of Charity (
243 I, 3,3 | figures to be selected from a collection of photos, etc., previously
244 II, 1 | materials derived from the collective religious imagination raises
245 I, 3,7 | media, both individually and collectively?~--Express compliments and
246 I, 2,Pre | impact of the image, its colour, light and composition,
247 I, 2,Pre | changes or try out all the combinations and extensions that circumstances
248 I, 1 | use a fascinating language combining the moving image, the spoken
249 II, 1 | stories, dramas of passion, comedies), the cinema has always
250 II, 1 | subjects for predominantly commercial purposes.~To escape from
251 I, 1 | author/director decide to commit himself to its creation (
252 I,Intro | passion for the truth" and committed to the defence of values.
253 I,Intro | concern of these drafting committees is evident: children's fundamental
254 I, 1 | deeply the message a film has communicated to the pupil. These questionnaires
255 II, 1 | the screen as a means of communicating the perennial immediacy
256 I, 3,2 | listen to music alone or in company? Why?~4. Which comics and
257 I, 2,Pre | they see a film or how it compares with real life, the more
258 I, 2,Intro| traditions hitherto beyond his compass; even the Gospel message
259 II, 1 | film-makers seemed to be competing with each other to capture
260 I,Intro | crossword puzzles, songs, competitions, etc. - can be augmented
261 I, 2,Pre | that they get together and compile a list of characters, from
262 I, 3,4 | community. They can easily be compiled for a modern spiritual context
263 I, 2,Pre | their own photomontage.~To complete the exercise, the children
264 I, 3,2 | wish you hadn't read?~~In completing and going over this questionnaire,
265 I, 3,7 | collectively?~--Express compliments and thanks for good programmes
266 I, 3,4 | music.~1. Choose a good composer to write suitable words
267 I, 3,7 | aimed at disparaging or concealing spiritual values (when not
268 I, 2,Pre | audio-visual media.~The methodology concentrates on group activity and involvement:~-
269 I, 3,2 | and assimilate the above concepts, activities such as the
270 I, 2,Pre | How things are told: this concerns films, or tales and legends
271 II, 1 | something similar in his film I confess (1953). The proximity of
272 II, 1 | impressions progressively confirmed. When it happened, the motion
273 I, 3,5 | Marriage~Violence~Social Conflicts~Taking Risks~The Body~Work~
274 I, 1 | fine film), cannot fail to confuse them, not only with regard
275 I, 1 | audio-visual language but also to a confused, at times discordant and
276 I, 3,7 | life of their religious congregation (events, teachings) and
277 I, 3,5 | they realize how every song conjures up a world for our ears.
278 I, 3,2 | according to their free and conscious faith.~
279 I, 3,5 | done in this session?~What consequences derive from a personal and
280 I, 1 | levels of our society by now consider the television as a normal
281 I, 1 | are not chosen with any consideration for the age of the junior
282 I, 3,3 | publications which the teacher considers useful and evocative.~--"
283 I, 1 | to older adolescents and consists of research into the historical
284 I, 3,5 | environment, a life-style most consonant with the Christian message?~
285 II, 1 | The primitive "Passions" constitute an important chapter in
286 I, 2,Pre | to play with closed boxes containing various objects such as
287 I, 2,Pre | recognizing the values it contains is a decisive step in affirming
288 I, 3,4 | level;~2. Organize a song contest on the theme: "The Motion
289 I, 3,4 | interests of the various groups contesting. The winning composition(
290 I, 3,4 | discussion as well.~III. SONG CONTESTS~Basic premise: the spiritual
291 II, 1 | production, situated in the old continent, acted with different principles
292 I, 3 (1) | and of creation which they continually encounter in their religious
293 II, 1 | for brevity prevents the continuation of this list of names, to
294 I, 2,Pre | resources he uses as he continues to tell the story.~For teachers
295 I, 1 | other films, instead of continuing passively to accept their
296 I, 3,5 | person depicted?~A marked contrast between the Gospel message
297 I, 3,3 | pointing out the most important contributions.~b) Second stage:~1. Watch
298 I, 1 | channels and, if there is no control on the part of adults, to
299 II, 1 | Nouvelle Vague to the less conventional forms of the new American
300 I, 2,Intro| ordinary daily life and convey his message using narrative
301 I, 3,2 | real meaning of the message conveyed, if they have not been taught
302 I, 3,3 | the image as a means of conveying messages and also as an
303 I, 3,3 | that THE IMAGE SPEAKS, it conveys a message.~Method: Direct
304 II, 1 | inspired films, also be treated convincingly by well-made craft films
305 I, 3,7 | where necessary, demanding corrections or the right to refute publicly;
306 II, 1 | signs and tokens which, when correctly interpreted, lead to the
307 II, 1 | not always matched by a corresponding depth of interpretation,
308 I, 3,5 | to be a big success.~2. I couldn't care less about other
309 I, 1 | the end the teachers and councillors will possess reports prepared
310 II, 1 | cinema. One scholar has counted over fifty which were filmed
311 I, 1 | operative steps can be taken to counteract this situation?~A) Creating
312 II, 1 | technical and financial means is counterbalanced by the wealth of their poetic
313 I,Intro | specialists from various countries have been formed. The outlines
314 II, 1 | John Ford, The diàry of a country curate (1950) by Robert
315 I, 3,5 | Money is the only thing that counts in life.~4. ...~5. ...~3.
316 I, 3,1 | Affection:~It is always the "couple", father and mother, that
317 I, 1 | not have in common - their courage, their sense of friendship,
318 II, 1 | cinema in China.~Then, of course, there is all the production
319 I,Intro | catechetics prograrrlmes proposed cover:~1. Children up to 6 years
320 I, 3,7 | that religious matters are covered by journalists with the
321 II, 1 | convincingly by well-made craft films not necessarily to
322 I, 2,Pre | may say "...and then it crashed", but in the film we only
323 I, 2,Pre | be discussed and in the creative techniques employed to present
324 I, 2,Pre | circumstances and his or her own creativity permit.~The more chance
325 II, 1 | writers, as naturaliter cristianae. Their films are not restricted
326 I, 3,5 | important for young people to be critically aware of the mass media
327 I, 3,3 | discussion for them and make a critico-formative statement on true Christian
328 I, 2,Pre | objective is to create a critico-participatory attitude, emphasizing the
329 I, 3,4 | Centenary celebrations.~Crosswords are also a good way of getting
330 I, 1 | and presence (or not) of crowd scenes~6) Setting~7) Effect
331 I,Intro | with God and reach their culmination in the faith, hope and charity
332 II, 1 | nauseates persons of more cultivated taste and has often provoked
333 II, 1 | always tried to tackle more culturally demanding subjects such
334 II, 1 | as ambassadors, to other cultures, of a vision of the world
335 II, 1 | The diàry of a country curate (1950) by Robert Bresson,
336 I, 2,Pre | Get the group to choose a current film and see it together.~
337 I, 3,6 | to~-name three songs by a currently fashinable pop singer/song
338 I, 3,2 | etc.) with illustrations cut from comics (e.g. Mickey
339 I, 1 | message.~B) The psychological data questionnaire, generally
340 II, 1 | 1953). The proximity of the dates of these films tells us
341 I, 1 | pupil. These questionnaires deal with the following types
342 II, 1 | spectacles aimed at the masses, dealing with biblical, christological
343 I, 3,6 | be abandoned if fruitful debate develops on an unlisted
344 II, 1 | Business and since the second decade of the century has had its
345 II, 1 | which in the following decades has never ceased to remake
346 I, 2,Pre | values it contains is a decisive step in affirming certain
347 I, 2,Pre | exercise their own judgement, decode messages, question behaviour
348 I, 2,Intro| way, with many images and decriptions close to their own daily
349 I, 1 | used to investigate more deeply the message a film has communicated
350 I,Intro | truth" and committed to the defence of values. It is indispensable,
351 I, 1 | principle is affirmed and defended and in the other opposed
352 I, 2,Pre | Young people can be caught defending self-denial when they see
353 I, 2,Pre | solidarity, they even get on the defensive. There is no doubt, however,
354 I, 3,6 | Hold a first meeting to define the tasks of the various
355 II, 1 | features of those virtues defined by the Fathers of the Church,
356 I, 3,7 | favour but also without deformation.~4. Every one of us - individual,
357 I, 3,1 | It is essential, in this delicate stage of their lives, to
358 II, 1 | oleografico) which, while it may delight simpler people, nauseates
359 I,Intro | collaborators on the "Plan Deni", for the training of children
360 I, 3,3 | also as an affirmation or denial of values, by trying to
361 I, 3,3 | How is it affirmed or denied? What reaction does it usually
362 I, 3,4 | CDs, tape recorders, etc., depending on the age and interests
363 I, 3,5 | see in the type of person depicted?~A marked contrast between
364 II, 1 | humiliating poverty and deprivation, traces of a spiritual dimension
365 II, 1 | approach with materials derived from the collective religious
366 I, 1 | a) Give five adjectives describing the character you liked
367 I, 3,5 | the audio-visual media it deserves. It is important for young
368 I, 3,4 | short programmes specially designed for children (but also taking
369 I, 2,Pre | if it is to transmit the desired sensation, emotion or problem.~
370 I, 3,7 | indifferent, negative or even destructive attitude to spiritual values
371 II, 1 | a particular attitude of detached yet at the same time involved
372 I, 3,7 | essential in favour of the detail, the marginal, the unattractive
373 I, 2,Pre | so that they can perceive details they had never noticed before;~-
374 I, 2,Pre | with those of the media. Detect any possible influences.~
375 I, 3,7 | responsible for the way the media develop and their use for or against
376 I, 3,6 | abandoned if fruitful debate develops on an unlisted theme.~IV.
377 II, 1 | 1947) by John Ford, The diàry of a country curate (1950)
378 I, 1 | 1. DIDACTIC ELEMENTS FOR A CONSTRUCTIVE
379 II, 1 | more in keeping with its dignity.~There was a period of Italian
380 I,Intro | which views as a duty action directed towards the formation of "
381 I, 1 | artistic and technical direction, synopsis of the story,
382 II, 1 | theory, to take different directions, even if the real situation
383 I, 3,7 | and all around us.~3. The disastrous or regrettable effects of
384 I, 1 | up late. Due to lack of discernment or indifference, however,
385 I, 2,Intro| Nothing is hidden except to be disclosed... "~(Mark 4, 21-22)~We
386 I, 1 | to a confused, at times discordant and contradictory, series
387 I, 2,Pre | of Jesus and how he never discriminated between people.~2. Get them
388 I, 3,6 | meeting could proceed by discussing the points suggested in
389 I, 3,7 | meaningful omissions aimed at disparaging or concealing spiritual
390 I, 3,5 | To make it easier we have dispensed with a set theme, letting
391 I,Intro | using all the means at its disposal, including the mass media.
392 I, 3,1 | incapable of judging and distinguishing, that the foundations are
393 II, 1 | religious imagination raises disturbing and even irritating questions
394 I, 3,3 | CERTAIN VALUES.~Method: Divide the youngsters up into two
395 II, 1 | Robert Flaherty's famous documentaries come to mind. Other directors,
396 I, 2,Pre | and sound used. If they don't remember, show the film
397 I, 2,Pre | This can be achieved by a double process, comparing the underlying
398 | down
399 I,Intro | overriding concern of these drafting committees is evident: children'
400 II, 1 | passion of Jesus and the drama of redemption. Imaginary
401 I, 3,5 | What are its advantages and drawbacks?~When you listen to music,
402 I,Intro | illustrated with pictures or drawings taken from local publications.
403 II, 1 | figures of priests, mostly drawn from pre-existing literary
404 II, 1 | century has had its main driving force in Hollywood. Other
405 I, 1 | attention, our children are dumped in front of the television (
406 II, 1 | the words "Jesus will be dying until the end of the world".
407 I, 3,2 | good aspects they noticed;~e) Using pictures and music
408 II, 1 | important chapter in the early history of the cinema. One
409 I, 3,5 | conjures up a world for our ears. Because it is also through
410 I, 3,5 | Walkmans, etc. To make it easier we have dispensed with a
411 II, 1 | America, Africa or the Middle East, where the frequent poverty
412 II, 1 | coming, significantly, from eastern Europe. The grand old man
413 I, 3,7 | attitudes on the soul~--Doubt, eclecticism, indifference, even rebellion (
414 I, 3,7 | values;~--Collaborate on an ecumenical basis, do as much as possible
415 I, 3,2 | values of violence, sex, egoism, etc.~II. WHAT CAN WE DO?~--
416 I, 1 | films have approximately eight months of intense life in
417 II, 1 | flourished: in Russia, Sergei Eisenstein and other directors gave
418 I, 2,Pre | special attention to the "Electronic Babysitter", helping them
419 I, 3,7 | development of humankind and "the elevation of the authentic culture
420 I, 2,Pre | wants, and anything else is eliminated.~Exercises~1. A search for
421 I, 3,2 | where the image is less eloquent and polished than in cinema
422 | else
423 I, 1 | critical requirements to elucidate, which little by little
424 I, 1 | considered exclusively as an emanation of the society which produced
425 I, 3,6 | check one or two points emerging from the children's replies.
426 I, 3,5 | and the message the image emits may emerge, one that will
427 I, 2,Pre | transmit the desired sensation, emotion or problem.~This use of
428 I, 2,Pre | of its power to stir up emotions.~* To point out that every
429 I, 2,Pre | the creative techniques employed to present the narration,
430 I, 2,Intro| preparation is needed to enable the viewer to extract and
431 I, 3,5 | for critical evaluation enabling them not to be enslaved
432 I, 3 (1) | creation which they continually encounter in their religious training,
433 I, 3,1 | a PERSON; his nature is endowed with intelligence and free
434 I, 3,2 | must be clear, calm and enlightened, helping them to acquire
435 | enough
436 I, 2,Pre | broader vision leading to enrichment through increased experience).~
437 I, 3,5 | enabling them not to be enslaved to the media while appreciating
438 I, 1 | in mind is a sheet with entries regarding all the necessary
439 II, 1 | subjects such as these, entrusted to the tender mercies of
440 I, 3,6 | be returned in a closed envelope, with questions such as:~-
441 I,Intro | accordance with cultural and environmental conditions, for a made-to-measure
442 II, 1 | commercial purposes.~To escape from the trap of sentimentality,
443 II, 1 | transcendency in films which eschew the extraordinary, in the
444 I, 3,5 | frequently. Once this has been established, get them to describe what
445 II, 1 | American film industry. European cinema, in its most advanced
446 I, 3,3 | age-level;~2. Join with them in evaluating the elements or scenes that
447 I, 3,5 | a capacity for critical evaluation enabling them not to be
448 I, 3,1 | CHILD NEEDS:~* Serenity:~Evangelization has its supreme success
449 I,Intro | these drafting committees is evident: children's fundamental
450 I, 3,3 | teacher considers useful and evocative.~--"Notes for the Teacher" (
451 II, 1 | an important step in the evolution of the language and art
452 I, 3,1 | bombarding them with images that exalt false values?~--Do we surround
453 I,Intro | which certain values are examined in depth, in search of knowledge
454 I, 1 | what they really think.~Examples:~a) Give five adjectives
455 | except
456 I, 2,Intro| been brought to him with exceptional clarity.~Since the cinema,
457 I, 2,Pre | learn why images and sounds excite and move them:~Find out
458 I, 3,1 | moments of wonder, their first excited admiration for things, people,
459 I, 1 | opinion, cannot be considered exclusively as an emanation of the society
460 II, 1 | with film products which exhibit these kinds of problems,
461 I, 3,5 | Set up a straightforward exhibition of all these pictures, on
462 I,Intro | also to those values of existence which guarantee the development
463 I, 2,Pre | should be and into their expectations for the future, by means
464 I, 2,Pre | stimulating research and experiment;~-viewing cultural reality
465 I,Intro | prepared by a group of experts from the Catholic University
466 I, 3,3 | group's work and, in turn, explaining what they were trying to
467 I, 3,4 | Spiritual Values" (with explanations):~Necessary conditions:~--
468 I, 3,7 | respect that of others;~--Exploit the possibilities offered
469 I, 2,Pre | heroes children are usually exposed to in television series
470 I,Intro | Latin America. After an exposition for teachers, outline approaches
471 I, 3,1 | nerves? or that uncontrolled exposure to media programmes can
472 II, 1 | this point, how the cinema expresses transcendency. Is it really
473 I, 2,Pre | all the combinations and extensions that circumstances and his
474 II, 1 | cinematographic art? To what extent are the personal convictions
475 I, 2,Intro| to enable the viewer to extract and appreciate the true
476 I, 2,Pre | presented in a context of eye-witness accounts, real events, life-stories,
477 I, 2,Pre | Encourage them to look with "new eyes" at the things they see
478 I, 3,2 | parable from the Gospel;~f) Organize the making of
479 II, 1 | the contemporary world.~Faced with film products which
480 I, 3,5 | form to the songs, greatly facilitating their analysis. With this
481 I, 1 | were the omissions and falsifications a matter of choice or due
482 I, 2,Pre | those of reference groups (family, school, parish, etc.);~*
483 II, 1 | universe. Robert Flaherty's famous documentaries come to mind.
484 I, 2,Pre | their anxieties or their fantasies.~Tell the story in sound
485 II, 1 | understood.~Fr. Virgilio Fantuzzi, SJ~Professor, Gregorian
486 I, 3,6 | three songs by a currently fashinable pop singer/song writer;~-
487 I, 3,5 | you, or because it's the fashion?~Many young people just
488 II, 1 | those virtues defined by the Fathers of the Church, when they
489 I, 3,2 | again?~3. What are your favourite songs? Why?~Do you know
490 II, 1 | to Christians reveal the features of those virtues defined
491 I, 3,5 | indiscriminately everything they are fed?~Undoubtedly they talk to
492 II, 1 | Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini,
493 I, 3,1 | images, perceptions, the feeling of hidden powers slowly
494 II, 1 | Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, have
495 I, 3,5 | postcards, etc.) of male and female rôle models as presented
496 II, 1 | pervaded with metalinguistic ferment and tense with anxiety to
497 I, 1 | a marked preference for fiction (ignoring its specific association
498 I, 2,Pre | background for contrasting fictional characters with real people.~*
499 I, 3,1 | patience, kindness, goodness, fidelity, gentleness and selfcontrol"(
500 I, 2,Pre | the telecamera's limited field of vision, making selectivity
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