Christians in Filmmaking:
 Film Artists Producing Redemptive Content in Visual Media



 Dr. Diane Howard
        Copyright © 2008, 2009        

UMHB: Performance Studies, Film

Guidelines for Effective Communication

Publications on Effective Performance Communication

  
 
   

For many years I have been conducting research and writing about the power of role models in autobiographical stories. I think this work is especially significant today and can bring light into our dark world of personal, national, and international struggles. In redemptive autobiographical stories, we can find  inspirational journeys of those who have persevered and overcome against great odds and high stakes.

Here are some of my insights about what makes an artistic, redemptive film. An effective narrative film requires a well-written screenplay, skillful acting, and artful directing.  An effective documentary needs similar structural elements and skillful directing. The screenplay and documentary need the following: a unifying concept, universal themes/ideas that are revealed through experience (shown rather than told),  a captivating beginning, foreshadowing, building tension, multi-dimensional characters, unpredicted twists and turns, a gripping climax, and a meaningful resolution.

Characters in an authentic and believable film are multi-dimensional. Heroes or heroines are often more fascinating if they overcome internal and external obstacles that are formidable, are underdogs, and/or are the least likely or unanticipated victors. Internal and external opponents and opposing factors must also be multi-dimensional.  If the opposing factors are internal and involve difficult experiences and memories, there are multi-dimensional ways to visual these internal opponents in film. Giving internal challenges visual form helps the characters and the audience to process them. The Sensation of Sight powerfully visualizes the internal struggles of the characters. Likewise this movie visualizes Memory and Time in forms that give the characters and audience handles for processing them.

Like internal opponents, opposing environmental or inanimate factors can also be visualized in multi-dimensional ways. For example there are specific kinds of Memory and experiences with Time: Generic Memory, Flashbulb Memory, and Engram. Generic Memory involves the blending of personal memories into a generic image of common experiences. Flashbulb Memory involves specific, intense, immediate memories of the circumstances in which one first encountered a consequential event. Epiphanies seem related to this kind of memory. An Engram is an auditory memory. Time can telescope or tunnel. It can warp into different dimensions in the future or past. Memory, time, and experience can move from misperceptions to reality. Further, human opponents and factors can have sympathetic dimensions or reasons related to why they have become harmful, abusive, or evil. Again, there are powerful examples of these techniques in The Sensation of Sight and also in The Soloist.  

A good film actor usually displays the following: minimized movement, minimal dialogue, effective listening to other characters, passionate internal commitment, heart-felt empathy with the character, vulnerability, believability, authenticity, subtle non-verbal communication, and compelling eyes.

Artistic directing of narrative or documentary films depends on the following: careful pre-production planning, good equipment, effective film crew, skillful editors, captivating music, artful lighting, and clear sound.  The effective cinematographer and director carefully plan each scene to captivate and engage viewers with dramatic, moving, visual elements.  

Film in all its forms captures living experience. Unlike other literary, visual, or performing art forms it presents moving, dynamic experiences in and over time that helps us understand and process our lives and those of others. Film largely uses visual, moving images (and music) to engage us.

Christian artists value the example of our incarnated Lord as the Word who became flesh and dwelt among us. Film can incarnate truth as it visualizes it and makes it concrete in terms of human experience. Non-verbal factors of communication and incarnation are powerfully significant in effective filmmaking. Christian filmmakers understand that nature and the heavens powerfully and complexly reveal the glory of God. Christian storytellers value storytelling models our Lord Jesus Christ gave us in His parables. As Christian filmmakers, we have our heavenly Father, the incarnated Christ, and God's Spirit to guide us, model for us, and include us in the greatest, epic story every told.

A redemptive film has an edifying story that reveals universal ideas and lifts the viewer from negativism, cynicism, and/or pessimism to what is positive, renewing, and hopeful. Although, it presents honest, difficult struggles, it turns what is paralyzing, degrading and debilitating to what is freeing, beautiful and eternal.
                                            Examples of Best Practice in Redemptive Films
                                                                          
                                                                            How Should We Then Live?

 There is an early example of outstanding film documentary work on art in the context of the history of the rise and fall of thought and culture in Western Civilization from the Christian perspective. These films present Dr. Francis Schaeffer's brilliant scholarship.

                                                                                    The Hiding Place  
   
One of the best in redemptive movies is The Hiding Place. Among its respected actors are Julie Harris and Jeannette Clift George, as the ten Boom sisters. This powerful film depicts the true story of the ten Boom Family who responded to the Holocaust with Christian love, courage, and forgiveness. It is suspenseful. The main character, Corrie ten Boom, is multi-faceted, vulnerable, and honest. She develops throughout the story in unpredictable, captivating ways.

                                                                                 The Lord of the Rings

 The Lord of the Rings films are based on the acclaimed writings of J. R. Tolkien. These films have in them the finest of film actors, whose acting is powerful in these films. They are directed by highly respected Peter Jackson. The cinematography is spectacular. The use of computer graphics is masterful. The stories and the films deal with great universal truths. The leading characters are ironic, passionate, and heroic. They are multi-faceted and significantly develop over time. These films are entertaining, enlightening, and inspirational.

                                                                                The Chronicles of Narnia

The Disney Corp. films of the C. S Lewis' literary masterworks are stunning in story, structure, and style. They are masterpieces of adventure, characters, and redemption. C. S. Lewis, who was in the same writing circle as J. R. Tolkien, has used the fantasy genre, like Tolkien, skillfully and powerfully for all ages. His characters are multi-faceted and develop through time. The films are powerful and redemptive depictions of the epic, spiritual struggle of good and evil.

                                                                                     Amazing Grace

The acting in this film is outstanding by some of the best British film actors. Albert Finney's portrayal of John Newton is riveting. The story of William Wilberforce's perseverance and self-sacrifice to end the British slave trade is powerfully inspirational. See http://www.imdb.com/title/tt0454776/  

                                                                                           Bella
This highly rated film of redemptive, unconditional love and grace is moving and uplifting. See trailers and the free documentation license on  http://www.bellamoviesite.com/.

                                                                               The Sensation of  Sight

This sensitive, thoughtful, independent film about loss and need for connection is unique, redemptive, and inspirational. David Straithhairn is a moving, meaningful actor, who is deeply connected to the story. See the trailer, blog, and notes- http://www.thesensationofsight.com/. Also see http://www.christianitytoday.com/movies/interviews/2008/buzzmclaughlin.html.
 

                                                                                           The Blind Side
Sandra Bullock plays well a real life Steel Magnolia, who develops in character as she provides for the neglected Gentle Giant, Michael Oher in The Blind Side. Jae Head, as S. J. Tuoghy, is especially delightful as he is juxtaposed to Quinton Aaron as Michael Oher.  The Blind Side  is entertaining, uplifting, and meaningful. The comedy has audiences laughing and crying in theaters across the nation. This film encourages us to value all human relationships at a time when we especially need this inspiration.

It is refreshing to see a true story about real Christian people in Michael Oher's family and school, who learn to demonstrate unconditional love and support that leads Michael, who formerly had many odds against him, to wonderful success in his life. I am adding this movie to my list of effective, enlightening, and entertaining redemptive movies. Thank you, Sandra Bullock, cast, crew, and real personalities in the story of The Blind Side. This film is a holiday gift to those that see it. 

 Aesthetic Elements in Screenwriting
Whether films are documentary or narrative there are universal elements in compelling filmmaking and screenwriting:     

  • unifying concept

  • captivating hook related to a problem

  • passionate communication of ideas

  • incorporation of universal themes, ideas, issues

  • specific story with universal references, frame, and appeal

  • high stakes in the story

  • critical incidents that build to a riveting climax

  • main characters are multi-dimensional/complex

  • central characters struggle with themselves, others, and/or environment

  • primary characters are moved by unexpected characters or situations

  • situations, experiences, conflicts are believable and universal

  • main characters develop over time through their personal and interpersonal journeys

  • characters are believable

  • dialogue is minimal and authentic

  • story told through moving images

  • central characters have flaws but something redemptive

  • inclusion of subtlety, paradox, irony

  • unexpected, unpredictable twists and turns

  • development of meaningful, thought-provoking conclusion/resolution

  • screenplay or film develops with experiences and action

    All the World is a Stage and On Camera more than ever before because e-technologies that include cameras are integral in our world and lives. We are now, as communicators and artists, on view for the world. We must understand and use the best in communication and artistic practice to engage the world at large. Especially for us Christians, who believe that we are God's instruments in the world for redemptive good, we must be pleasing, inspirational, and captivating to viewers. We no longer communicate to only our specific sub-cultural groups. We communicate to the world. Our communication and art must have depth and breadth that universally appeals.  Our personal and corporate appearance, communication, and performance matters in terms of our ability to captivate, engage, and inspire.  Effective visual elements and non-verbal communication is more important than ever before. God-given beauty, artistry, and excellence must be evident in our communication practice, especially over cameras, for us to sustain attention of viewers and to reflect the wonder, awe, and truth of our God. It is especially through our body of work that we glorify our Lord, reflecting His Attributes, Nature, and Spirit.

                                                     Questions for Christian Artists and On-Camera Communicators:
     

    • What kind of communication role models do we find in the Bible?
       

    • How does God reveal Himself through nature and the Bible?
       

    • How did Christ incarnate, reveal, and teach Truth?
       

    • Are we engaging, attractive, captivating on camera?
       

    • Do we appear strange, unattractive, or dull over cameras to those who are outside of our Christian sub-culture?
       

    • Do we understand how to engage viewers visually, non-verbally, and verbally?
       

    • Do we use the best in artistic and communication practice to captivate and inspire audiences?
       

    • Are Christian Artists Giving the Best?
       

    • Does Ethnocentricity Lead to Mediocre Artistry in Christian Sub-Cultures? 
       

    • As Christians, we have been called to be Salt and Light in the World, but do we focus our light primarily within a Christian
      sub-culture that does not draw or engage others, who are outside of that subculture?
       

    • As Christian artists are we producing art that timelessly and universally engages and inspires
      generation after generation?  
       

    • Is the aesthetic bar of excellence higher in secular circles than in Christian circles?
       

    • Do we have an historical, knowledgeable perspective as we produce art?
       

    • Do we understand elements of great, lasting storytelling and production elements?
       

    • Do we go the extra mile to produce the best art that we can?
       

    • Or do we sometimes throw our artistic projects together, especially within the church
      due to time, space, energy, resource constraints, popular appeal, or sub-cultural pressures?  
       

    • For those Christians who are producing art in the mainstream and appealing to the general population,
      are we sacrificing excellence in substance, values, and/or artistry?

    • Do we produce art that is rooted not only in Biblical knowledge but in historical, international, multi-cultural understanding? 

    • Do we understand and employ the techniques of communication art that Jesus our Lord used (such as parables)?
       

    • Is an ethnocentric perspective a deficiency in much American art production, especially filmmaking?
       

    • Is American art, even American Christian art, typically contemporary and American for the purpose of marketing in the U.S.?
       

    • Are we as American Christians ethnocentric?
       

    • Do we have an international, global, multi-cultural, historical, and scholarly perspective, as well as good training
      and ongoing hands-on experience in meaningful and substantive projects?
       

    • Does our art have depth and breath?
       

    • Does our communication art have universal and timeless appeal?
       

    • Are we creative but undisciplined and unrefined?
       

    •  Do we work at perfecting, fine-tuning, refining our art?
       

    • Are we open to good instruction as we produce art?
       

    • Do we know the basic elements of great art in terms of content, structure, production elements, and style?
       

    • Do we know what facilitates heart, soul, and redemption in art?
       

    • Do we know what makes our art credible, engaging, inspirational, and thought-provoking?
       

    • Are we familiar with historic and contemporary models of Best Practice?
       

    • Do we understand principles of effective communication in artistic projects?
       

    • Are we minimizing the place and value of the arts in Christian circles, churches, and outreach?  

      •   

    • Do we consider our audience and how to best inspire, uplift, and edify?
       

    • Will our art stand the test of time?

    See Addicted to Mediocrity

    See Effective Filmmaking as Salt and Light

     Finding a Place in Redemptive Film Work

    Examples of Best Practice in Christian Art and Communication: