Post on 09-May-2015
description
Mobile Media in Ministry Strategy
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
A Biblical Basis for Media in Ministry (!?!)
Verses
Examples
Principles
A Biblical Basis for Media in Ministry (!?!)
Verses
Examples
Principles
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
Mobile Media and Evangelism (including “pre-Evangelism”)
1. Prayer2. Abundant Gospel sowing3. Intentional church planting4. Scriptural authority5. Local leadership6. Lay leadership7. Cell or house churches8. Churches planting churches9. Rapid reproduction10. Healthy churches
1. Prayer2. Abundant Gospel sowing3. Intentional church planting4. Scriptural authority5. Local leadership6. Lay leadership7. Cell or house churches8. Churches planting churches9. Rapid reproduction10. Healthy churches
In Church Planting Movements,hundreds and even thousands of individuals are hearing theclaims that Jesus Christ has on their lives. This sowing oftenrelies heavily upon mass media evangelism, but it always includes personal evangelism with vivid testimonies to the lifechangingpower of the gospel.
Fruitful Practices
Fruitful Practice
Fruitful workers share the gospel in ways that fit thelearning preferences of their audience.
OralityIlliterate
Functionally Illiterate
Post-Literate Non-Readers
Readers
Bible Readers
Enabling Storying
Mobile Media and Discipleship
Fruitful Practice
Fruitful workers disciple in locally appropriate andreproducible ways.
“Phonesite” Outreach
CGNet Swara (India)
Picture something like this being done for discipleship
and church growth
http://www.youtube.com/watch?v=-ZJS7btg0R4
Fruitful Practice
Fruitful workers disciple others in settings that fit thesituation.
The Bible at Your Fingertip
The only library some will ever have
books
audio
video
Mobile Media and Leadership Development
Fruitful Practice
Fruitful workers prefer to develop leaders locally
90% Leave
Media and the Gathering/Fellowshipping of Believers
Your turn…
Media and the Gathering/Fellowshipping of Believers
Your turn…
New media in a new media landscape
From Consumers
To “Prosumers”
A two-way street?
A two-way street?
Who do you believe?
Shirky Video
http://www.ted.com/talks/clay_shirky_how_cellphones_twitter_facebook_can_make_history.html
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)
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)
Appropriate MediaSubject 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?
Appropriate MediaSubject 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?
Appropriate MediaSubject 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?
Appropriate MediaSubject 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?
Appropriate MediaSubject 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?
Appropriate MediaPresentation (continued):• Are there elements of the presentation that send a message other than the one we want them to “hear”?
While watching the "JESUS" film in theforest 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 hisfetishes, 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
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
Appropriate MediaPresentation (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
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
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
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
• 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
• 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
• 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
• 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
• 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
• 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
• 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
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
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
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
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
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
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
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
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
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
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
Two questions that must be answered before starting a
media project
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
Mobile Media Project Worksheets
•Purpose of this exercise
•Worksheet walk-through and questions
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
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
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
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
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
Visual NarrativeVisual, 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
Visual NarrativeVisual, 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
Visual NarrativeVisual, 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
Visual NarrativeVisual, 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
Visual NarrativeVisual, 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
Visual NarrativeVisual, 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
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
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
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