100-field | fifty-retur | revea-young
bold = Main text
Part, Theme, Chapter grey = Comment text
1001 II, 1 | sensibilities which to Christians reveal the features of those virtues
1002 I, 3,5 | before them, it will be a revelation to the young people when
1003 I, 2,Pre | scores, and then, with a reverse procedure, listen to different
1004 I, 3,3 | from this stimulate them to review their lives and renew their
1005 I, 1 | and extracts from press reviews. Generally this form is
1006 I, 2,Pre | composition, combined with rhythm and music;~* To discuss
1007 I, 1 | recently portrayed with ridiculous chauvinism by US film-makers
1008 II, 1 | communicate things that rise from the soul and reach
1009 I, 3,5 | Social Conflicts~Taking Risks~The Body~Work~The Community~~~~
1010 II, 1 | instinctive modesty. The names of Roberto Rossellini, Vittorio De
1011 I, 3,5 | WOMAN SHOULD BE TODAY: THE ROLE MODELS THE MEDIA OFFER US.~
1012 I, 3,5 | III. FIRST EXERCISE~The role-model in pictures and photographs~
1013 I, 3,5 | are their comments?~What rôle-model is reflected in the pictures
1014 II, 1 | modesty. The names of Roberto Rossellini, Vittorio De Sica, Luchino
1015 I, 3,6 | be possible to obtain a rough idea of the intellectual
1016 II, 1 | expressionist cinema flourished: in Russia, Sergei Eisenstein and other
1017 II, 1 | life to the ancient axiom: Sacerdos alter Christus.~One can
1018 II, 1 | style (known in France as Saint Sulpicien, in Italy as oleografico)
1019 I, 2,Intro| proclaimed the Good News of Salvation, he would speak in terms
1020 II, 1 | can only obtain partially satisfactory results. The grandiose spectacle,
1021 II, 1 | of the Indian director, Satyajit Ray, and of Yasujro Ozu
1022 I, 3,5 | Is it because it really says something to you, or because
1023 I, 3,3 | profound influence on one's own scale of values and consequently
1024 I, 3,7 | sensational, extraordinary, even scandalous;~--Biased interpretation
1025 I, 1 | creation (Spielberg and his "Schindler's List", for example); if
1026 II, 1 | history of the cinema. One scholar has counted over fifty which
1027 I, 3,5 | people keep at home, in their schoolbags and in their books? Why
1028 I, 2,Pre | accounts prepared by groups of schoolchildren, and to the values presented
1029 I, 1 | video-cassettes or, where schoolteachers are concerned, by telling
1030 I, 1 | the television (Lyle and Schramm describe the TV as a baby-sitter),
1031 I, 2,Pre | Play extracts from film scores, and then, with a reverse
1032 I, 1 | concerning the director, screen-writer(s) and actors, and extracts
1033 I, 3,4 | read a portion of the Holy Scriptures to five or six children
1034 I, 3,6 | lead the discussion, the secretary, etc. and prepare a brief
1035 I, 3,7 | The efforts made by some sections of the press and other media
1036 I, 2,Pre | A polaroid camera and a selection of cardboard masks would
1037 I, 2,Pre | field of vision, making selectivity unavoidable.~Suggest taking
1038 II, 1 | an appropriate measure of self-defence. The cinema is a form of
1039 I, 2,Pre | involvement:~-encouraging self-expression, exchange of ideas and the
1040 I, 1 | since youngsters who are self-sufficient enough to go out on their
1041 I, 3,1 | fidelity, gentleness and selfcontrol"(Gal.5, 22-23). The child
1042 I, 1 | and personal satisfaction~-semipositive = evidence of social gratification
1043 I, 2,Pre | to transmit the desired sensation, emotion or problem.~This
1044 I, 3,7 | blown up into something sensational, extraordinary, even scandalous;~--
1045 I, 1 | contradictory, series of sensations and items of information.~
1046 II, 1 | Japan, rich with intimistic sensibilities which to Christians reveal
1047 I, 3,3 | chosen: The pre-adolescent is sensitive to this particular value,
1048 I, 3,6 | Meeting should subsequently be sent to all parents, with a reminder
1049 II, 1 | visual aspect, by a mawkishly sentimental style (known in France as
1050 II, 1 | escape from the trap of sentimentality, many film directors gifted
1051 I, 2,Intro| appreciate the true values, to separate the wheat from the chaff.~
1052 I, 3,1 | teachers~I. YOUR CHILD NEEDS:~* Serenity:~Evangelization has its
1053 II, 1 | cinema flourished: in Russia, Sergei Eisenstein and other directors
1054 I, 1 | subject matter). Consequently, serials, soap operas and above all
1055 I, 3,5 | as they have done in this session?~What consequences derive
1056 I, 1 | addressed to the younger viewer, sets some quick questions requiring
1057 I, 1 | not) of crowd scenes~6) Setting~7) Effect of the experience.~
1058 | several
1059 I, 3,2 | negative values of violence, sex, egoism, etc.~II. WHAT CAN
1060 I, 2,Pre | when the boxes are moved or shaken.~For teachers of children
1061 I, 2,Pre | media (group discussion and shared interests contribute to
1062 | she
1063 I,Intro | to know these values, to shed light upon their freedom
1064 I, 3,2 | valuable opportunity for shedding the light of Christian standards
1065 I, 1 | form we have in mind is a sheet with entries regarding all
1066 I, 2,Pre | To point out that every shot a film director takes is
1067 I, 2,Pre | Suggest taking a series of shots of the same place but for
1068 I, 2,Pre | to picking out a close-up showing the actor/character's importance
1069 II, 1 | Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo
1070 I, 3,2 | to go beyond the outward sign, since interpreting the
1071 II, 1 | Kristof Kieslowski, coming, significantly, from eastern Europe. The
1072 II, 1 | Hitchcock also did something similar in his film I confess (1953).
1073 II, 1 | which, while it may delight simpler people, nauseates persons
1074 I, 3,1 | own, flowing directly and simultaneously from his very nature, which
1075 I, 3,1 | love, joy, forgiveness, sincerity, trust in others, little
1076 I, 3,6 | currently fashinable pop singer/song writer;~-name the principal
1077 II, 1 | centres of film production, situated in the old continent, acted
1078 I, 2,Pre | different music and imagine what situations it could be used for.~3.
1079 II, 1 | Fr. Virgilio Fantuzzi, SJ~Professor, Gregorian Pontifical
1080 II, 1 | too, stretches the broad sky of transcendency, though
1081 I,Intro | people from 14 to 18.~3. A slightly more complex proposal, aimed
1082 I, 3,1 | feeling of hidden powers slowly being revealed..., a sense
1083 I, 3,1 | It takes just a glance, a smile, a voice, a song, for the
1084 II, 1 | all the production of the so-called "independent" cinema. Totally
1085 I, 2,Pre | subject is self-denial or solidarity, they even get on the defensive.
1086 II, 1 | of those who see in this sort of spectacle the exploitation
1087 I, 3,4 | all ages. They offer ample space for invention and can be
1088 I, 3,4 | real "questionnaires" and spark off discussion as well.~
1089 I, 3,2 | everyday life, more capable of speaking directly to people and involving
1090 I, 3,3 | young people that THE IMAGE SPEAKS, it conveys a message.~Method:
1091 I,Intro | to this call, groups of specialists from various countries have
1092 I, 3,4 | series of short programmes specially designed for children (but
1093 II, 1 | really in the great film spectacles aimed at the masses, dealing
1094 II, 1 | the extraordinary, in the spectacular sense of the word, and strive
1095 I, 1 | can begin to give young spectators some critical requirements
1096 I, 1 | a result, more hours are spent in front of the TV screen
1097 I, 1 | himself to its creation (Spielberg and his "Schindler's List",
1098 II, 1 | interior world rich with spirituality. The same could be said
1099 I, 1 | combining the moving image, the spoken word and music, what they
1100 I, 2,Pre | a simple stroll in the square, "camera" in hand, can become
1101 I, 3,2 | helping them to acquire stability and to respond according
1102 I, 3,3 | to be developed in three stages, each with a specific aim,
1103 I, 2,Pre | Discover the values which stand out in a story and compare
1104 I, 3,5 | books; they could judge the star of a movie or a soap, or
1105 I, 3,6 | The questions should be stated so that they require only
1106 I, 3,3 | make a critico-formative statement on true Christian friendship.~
1107 I, 3,7 | exploitation of certain statements to further unrelated interests;~--
1108 I, 2,Pre | become aware of its power to stir up emotions.~* To point
1109 I, 2,Pre | discover the message in our story-telling.~For teachers of children
1110 I, 3,5 | people themselves. Set up a straightforward exhibition of all these
1111 II, 1 | times the horizon may appear streaked with the threatening clouds
1112 II, 1 | Over these phenomena, too, stretches the broad sky of transcendency,
1113 II, 1 | spectacular sense of the word, and strive to show the extraordinary
1114 I, 2,Pre | round the district, a simple stroll in the square, "camera"
1115 II, 1 | meaningful moments of humanity's struggle to achieve conditions of
1116 I, 3,2 | and message should all be studied and appraised;~Also the
1117 I, 3,4 | five or six children in the studio with him, and then talk
1118 I, 3,7 | highest values, of their most sublime aspirations. Among these
1119 II, 1 | in its everyday reality, submerged by conditions of humiliating
1120 I, 3,6 | Minutes of the Meeting should subsequently be sent to all parents,
1121 I, 3,5 | picture panels will give substance, visible form to the songs,
1122 II, 1 | world". Jesus suffers, by substitution, in the figure of the priest,
1123 II, 1 | moved to Hollywood, where he succeeded in retaining the demands
1124 I, 1 | adolescents than by the successive age-group, since youngsters
1125 II, 1 | unease which humanity is suffering from in the contemporary
1126 II, 1 | end of the world". Jesus suffers, by substitution, in the
1127 I, 3,4 | personal interest. This suggestion would also be a good way
1128 I, 3,4 | invention and can be adapted to suit any age or community. They
1129 I, 3,3 | with a few simple questions suited to their age-level;~2. Join
1130 II, 1 | known in France as Saint Sulpicien, in Italy as oleografico)
1131 I, 3,3 | comments when necessary;~3. Sum up the discussion for them
1132 I, 3,7 | which for us Christians are sumrned up in the virtues of Faith,
1133 I, 3,5 | protest song, a song with superficial Iyrics and an easy tune,
1134 II, 1 | between the human and the superhuman, captured in moments of
1135 I, 3,1 | discover the spiritual and the supernatural dimension.~It is from the
1136 I, 1 | parents, to encourage them to supervise their children's approach
1137 II, 1 | the requisite knowledge supported by the resources of art.
1138 I, 1 | villain)~4) Description of the supporting characters~5) Function and
1139 I, 3,1 | Evangelization has its supreme success in the moment of
1140 II, 1 | captured in moments of surpassing artistry? The film has indeed
1141 I, 3,4 | week's team (the element of surprise is always a great attraction),
1142 II, 1 | closely related to the surrealist movement; in Germany, at
1143 I, 3,1 | exalt false values?~--Do we surround them with beautiful things?~--
1144 I, 3,5 | what are the results of swallowing indiscriminately everything
1145 II, 1 | indirect and allusive use of symbolic language, rather than in
1146 I, 1 | and technical direction, synopsis of the story, biographical
1147 I, 3,2 | message is a process of synthesis and internalizing;1~Television
1148 II, 1 | films so created move in syntony with the most advanced forms
1149 II, 1 | cinema has always tried to tackle more culturally demanding
1150 I, 2,Pre | this concerns films, or tales and legends associated with
1151 I, 2,Intro| example, he knew fishermen and talked to them of the Kingdom of
1152 II, 1 | should now be added Andrej Tarkowski and Kristof Kieslowski,
1153 II, 1 | persons of more cultivated taste and has often provoked the
1154 I, 3,2 | conveyed, if they have not been taught to go beyond the outward
1155 I, 3,4 | of the following week's team (the element of surprise
1156 I, 3,4 | way of getting through to teenagers; in practice they can act
1157 I, 2,Pre | give them an idea of the telecamera's limited field of vision,
1158 II, 1 | the dates of these films tells us that there was a period
1159 I, 3,2 | what it is?~(make a list of ten songs with their messages)~
1160 II, 1 | these, entrusted to the tender mercies of the film industry (
1161 II, 1 | metalinguistic ferment and tense with anxiety to test and
1162 I, 2,Intro| Salvation, he would speak in terms of ordinary daily life and
1163 I, 2,Pre | the film we only heard a terrible noise, we did not see the
1164 I, 3,1 | inalienable..." (Pacem in Terris)~...this is the starting
1165 II, 1 | and tense with anxiety to test and redefine the procedures
1166 I, 1 | themselves involved or being tested and hence give impressions
1167 I,Intro | document.~1. An introductory text prepared by Professor Luciana
1168 I,Intro | list and description of the texts which make up the attached
1169 I, 3,7 | Express compliments and thanks for good programmes and
1170 I, 1 | intense life in the movie theatres, after which they pass to
1171 II, 1 | cinema seemed, at least in theory, to take different directions,
1172 I, 3,3 | appropriate questions to set them thinking and start interpreting the
1173 I,Intro | of knowledge and a more thorough analysis of the audio-visual
1174 I, 1 | transmit a total of three thousand films every day.~And the
1175 II, 1 | appear streaked with the threatening clouds of an impending Apoclaypse,
1176 I, 3,5 | small panel of photos which tie in well with the song they
1177 II, 1 | manifested in signs and tokens which, when correctly interpreted,
1178 I, 2,Pre | in mind~1) How things are told: this concerns films, or
1179 I, 2,Pre | answers (for example, about a "Tom and Jerry" cartoon), if
1180 | too
1181 I, 1 | association with the original topicality of the subject matter).
1182 I, 1 | combined TV networks transmit a total of three thousand films
1183 II, 1 | so-called "independent" cinema. Totally or partially free from the
1184 I, 2,Pre | music;~* To discuss the traditional division of characters in
1185 I, 3,7 | publicly; launch petitions;~--Train professionals in communications,
1186 I, 2,Pre | about the main character traits of these people.~It is important
1187 I, 3,5 | much of their lives with transistors, Walkmans, etc. To make
1188 I, 3,5 | their analysis. With this translation before them, it will be
1189 I, 3,4 | is more suitable than a transmission on a nation-wide network,
1190 I, 1 | appliance, regardless of what it transmits; as a result, more hours
1191 I, 3,5 | they have chosen, virtually transposing it into images.~The picture
1192 II, 1 | purposes.~To escape from the trap of sentimentality, many
1193 II, 1 | the cinema has always tried to tackle more culturally
1194 I, 3,7 | the right to be presented truthfully, to have their life and
1195 I, 3,5 | superficial Iyrics and an easy tune, a poetic song...~2. Understanding
1196 II, 1 | of modern culture.~In the twenties France saw the phenomenon
1197 I, 2,Intro| medium which has allowed twentieth century man to draw near
1198 I, 1 | USA is nineteen, in Italy twenty-three. So, the greater part of
1199 I, 1 | deal with the following types of information:~A) Cognitive~
1200 II, 1 | context we find phenomena typical of modern cinema art, pervaded
1201 II, 1 | presenting events in their unadorned objectivity? Or is it not
1202 I, 3,3 | stage~Objective: to make it unambiguously clear to young people that
1203 I, 3,7 | detail, the marginal, the unattractive aspect, which is then blown
1204 I, 2,Pre | vision, making selectivity unavoidable.~Suggest taking a series
1205 I, 3,7 | non-practising Christians and unbelievers, in the Christian press
1206 I, 3,1 | affect their nerves? or that uncontrolled exposure to media programmes
1207 II, 1 | impending Apoclaypse, while the unconventional approach with materials
1208 I, 3,2 | hear;~--They assimilate uncritically;~--They have great intuition
1209 I, 2,Pre | double process, comparing the underlying values in the film with
1210 I, 3,6 | is a much more difficult undertaking. It will only be profitable
1211 I, 3,5 | everything they are fed?~Undoubtedly they talk to their friends
1212 II, 1 | manifest the profound spiritual unease which humanity is suffering
1213 II, 1 | unity animating the created universe. Robert Flaherty's famous
1214 II | PARTICIPATION OF THE UNIVERSITIES~~
1215 I, 3,6 | fruitful debate develops on an unlisted theme.~IV. THIRD STAGE:
1216 I, 3,6 | programme was the worst or most unpleasant? Why?~-Was there any programme
1217 I, 3,7 | certain statements to further unrelated interests;~--The indifferent,
1218 I, 3,6 | any programme that seemed untrue to you? Why?~-Were there
1219 I,Intro | the Catholic University of Uruguay, collaborators on the "Plan
1220 I, 1 | of the cinema-goer in the USA is nineteen, in Italy twenty-three.
1221 I, 2,Pre | style. See what resources he uses as he continues to tell
1222 I, 3,5 | should also examine their own usual attitude to what they see
1223 I, 3,6 | anniversary we are celebrating.~V. SOME SUGGESTIONS FOR THE
1224 II, 1 | aftermath of the French Nouvelle Vague to the less conventional
1225 I, 3,2 | sense of reality, offer a valuable opportunity for shedding
1226 I, 1 | the basis of any of a wide variety of themes: where the film
1227 II, 1 | question of values in a veiled and restrained manner for
1228 II, 1 | pictured on the screen in vibrant close-ups, figures on the
1229 I, 1 | Professor Luciana Della Fornace~Vice President, AGIS (Schools)~
1230 I,Intro | Professor Luciana Della Fornace, Vice-President of AGIS (Italian General
1231 I, 1 | exercises can be done with video-cassettes or, where schoolteachers
1232 I, 2,Pre | enquiry (which could be videoed).~Analyse the results obtained,
1233 I,Intro | Instruction "Aetatis Novae", which views as a duty action directed
1234 I, 1 | description of the "heavy" (villain)~4) Description of the supporting
1235 I, 1 | which the three heroes (or villains) have or do not have in
1236 II, 1 | waiting to be understood.~Fr. Virgilio Fantuzzi, SJ~Professor,
1237 I, 3,5 | the song they have chosen, virtually transposing it into images.~
1238 I, 3,1 | intelligence and free will. By virtue of this he has rights and
1239 II, 1 | Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni,
1240 I, 3,5 | panels will give substance, visible form to the songs, greatly
1241 I,Intro | essential to recognize the vital importance of spiritual
1242 II, 1 | names of Roberto Rossellini, Vittorio De Sica, Luchino Visconti,
1243 I, 3,1 | just a glance, a smile, a voice, a song, for the child to
1244 II, 1 | answers, the cinema is simply waiting to be understood.~Fr. Virgilio
1245 II, 1 | screen, following in the wake of popular religious dramas
1246 I, 2,Pre | never show everything.~A walk round the district, a simple
1247 I, 3,5 | lives with transistors, Walkmans, etc. To make it easier
1248 I, 1 | and today rehabilitated in Walter Hill's fine film), cannot
1249 I, 2,Pre | intended to show only what he wants, and anything else is eliminated.~
1250 I, 3,5 | Sport~Racism~Religion~Hunger~War~...~...~~~ The teacher
1251 II, 1 | is counterbalanced by the wealth of their poetic inspiration
1252 I, 3,4 | PROGRAMMES~Starting about five weeks before the Centenary celebrations
1253 I, 3,6 | profitable with a very open and well-disposed group, i.e. of parents of
1254 II, 1 | treated convincingly by well-made craft films not necessarily
1255 II, 1 | beginnings, in addition to well-tried subjects from the lighter
1256 II, 1 | various environments in western Europe, should now be added
1257 | whatever
1258 I, 2,Intro| values, to separate the wheat from the chaff.~
1259 | whose
1260 I, 1 | on the basis of any of a wide variety of themes: where
1261 I, 2,Pre | aperture on one side and the window on the other.~Looking through
1262 I, 3,4 | various groups contesting. The winning composition(s) to be presented,
1263 II, 1 | of the priest, who bears witness in his life to the ancient
1264 I, 2,Intro| of the motion picture, a wonderful invention which is now one
1265 II, 1 | convictions challenged. One wonders, in cases like this, whether
1266 I, 2,Pre | feelings, the question can be worded in an impersonal way: How
1267 I, 2,Pre | interest and contribute to the working out and application of ideas;~-
1268 I, 2,Pre | list of characters, from world-famous and national figures to
1269 I, 3,6 | Which programme was the worst or most unpleasant? Why?~-
1270 II, 1 | expressed in the works of pagan writers, as naturaliter cristianae.
1271 II, 1 | director, Satyajit Ray, and of Yasujro Ozu of Japan, rich with
1272 II, 1 | religious film?~It is this yearning for transcendency with which
1273 | yet
1274 I, 1 | generally addressed to the younger viewer, sets some quick
|