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Catholics in the Cinema: A Strange History of Belief and Passion. Beginnings, 1895-1935

Robert Molhant

Brussels: International Catholic Organization for Cinema and Audiovisual (OCIC) (2000), 45 pp.

Google Scholar (238)

WorldCat (219)

Stories We Tell Our People: Asian Cinema, Cultures, Values and More

Jacob Srampickal, Leela Joseph (eds.)

New Delhi: OCIC Asia (2000), 167 pp.

"This collection, sponsored by the Asian office of the International Catholic Organization for Cinema (OCIC), provides an overview for the study of cinema in Asia. It consists of articles, more or less arranged in concentric circles, addressing cinema in general, Asian cinema, and the cinema of part ... icular countries. Authors include film critics, scholars, and film makers. The first and most general section asks how the cinema teaches values, examining the process of the construction of meaning. Jacob Srampickal, one of the volume's editors, sees the cinema as a mirror of social values while Peter Malone, the international president of OCIC and a film critic from Australia, examines the hopes and failures of cinema in teaching family values. He highlights in particular questions of patriarchy, commitment, cohabitation, separation and divorce, single parenting, careerism, rebellion, peer pressure, and sexual abuse as they appear in films. Virgilio Fantuzzi, a Rome-based film educator, provides a theoretical piece on transcendence in film and introduces a number of film makers known for their transcendental style. Jose Palakeel, the dean of studies at Ruhalaya in Central India, argues that audiovisual expression is particularly apt for the construction of meanings and values. Rooting his analysis in Jungian psychology, he notes that the individual constructs meaning and values through association of images, feelings, relationships, and intuitions. The section also includes Pope John Paul II's World Communication Day message of 1995, the centenary of the cinema. Because of its general character, this first section proves less helpful than the others in the book. Several of the writers correctly remark that their topics need more space for development. They do, however, raise key issues, particularly regarding the mechanisms through which cinema influences culture and society. The second section, on Asian cinema, returns to these themes. Gaston Roberge, the founder of Chitrabani in Calcutta, specifically investigates the film as a cultural object and tries to identify how people interact with it in the context of Asian cultures and values. Aruna Vasudev, the editor of Cinemaya, an Asian cinema magazine, argues that even in the face of Hollywood blockbusters an Asian cinema has emerged with an emphasis on "the continuity of certain traditions--the family, the community, honour, emotionalism" (p. 52). He illustrates these themes and concerns with examples of film from Taiwan, the Philippines, Korea, Japan, India, and Iran. The Sri Lankan film critic Tissa Abeyasekara raises a challenge to this view, acknowledging that, while there is cinema in Asia, it may not have developed a specifically Asian aesthetic or idiom. Noting cultural differences across Asia, he admits that Asian cinema does share at least two common elements--a lack of support for the medium and a lack of integration with the rich traditions of the plastic arts across the region. The book's third section, consisting of examples and studies from the various countries of Asia, proves the richest by far, particularly for a reader less familiar with Asian cinema. Satish Bahadur, a retired member of the Film and Television Institute of India, contributes a study of the cultural and historical factors that have shaped cinema in India, discussing themes, directors, styles, and audiences. For example, Indian life has made cinema an urban phenomenon, but one rooted in the culture of the village, with city dwellers still clinging to village values. This juxtaposition also helps to explain the side-by-side existence of the Bollywood film and the socially conscious film. Roberge adds another essay here that explores some specific films and their relationship to the Indian family. Rounding out the examination of India is Manjunath Pendakur, a professor of international communication at Northwestern University (USA). His essay on Indian documentary film traces the rise of an independent film industry, competing with official government documentary production. The cinema of other Asian countries receives briefer treatment. Tadao Sato, a Japanese film critic, penetratingly explores Japanese cinema by asking whether there is something "typically Japanese." His historical overview explains the rise of certain themes and approaches to acting and film making while relating these to the history of Japan in the twentieth century. Lawrence Saldanha, a film educator in Pakistan, surveys a young Pakistani industry, noting its mixed fortunes in the face of shifting government regulation. Nicasio Cruz, a film critic, traces the rise in Filipino cinema of the action spectacle and the teen heart-throb movie. Both connect to the immense popularity (and political success) of movie stars in Filipino culture. James Reuter, a film educator on the staff of the Catholic Church communication office, asks whether there is place for God in the midst of such spectacle and vulgar romance films. Finally, William Biernatzki, the editor of Communication Research Trends, and Taewon Suh, a university lecturer, provide an overview of cinema in the Republic of Korea. They look both at the state of the industry (affected by government quotas, censorship, and the threat of piracy) and at the development of a Korean aesthetic. The editors close the volume with reprinted "testimonies" from two great Indian directors: Satyajit Ray ("Why Do I Make Films?") and Shyam Benegal ("Values Are of Primary Importance to Me")." (https://www.thefreelibrary.com) more

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WorldCat (212)

Festivals et jury: Criteres pour l'attribution des prix: Document du travail

Peter Malone, Robert Molhant

Bruxelles: OCIC (1999), 26 pp.

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WorldCat (231)

Von Oberammergau nach Hollywood: Wege der Darstellung Jesu im Film

Reinhold Zwick, Otto Huber

Köln: Katholisches Institut für Medieninformation (KIM) (1999), 302 pp.

"Die Passionsspiele von Oberammergau waren das Vorbild für die frühen Jesusfilme. Das Buch will insbesondere die Einflüsse deutlich machen, die von Oberammergau auf die großen Bibelfilme Hollywoods ausgingen." (commbox)

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WorldCat (237)

Prix de l'OCIC dans les festivals de cinéma: Grands prix de l'OCIC 1947-1966

Robert Molhant

Bruxelles: OCIC (1999), 69 pp.

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WorldCat (253)

Explorations in Theology and Film: Movies and Meaning

Clive Marsh, Gaye Ortiz (eds.)

Oxford: Blackwell (1999), 276 pp.

"Brings together theologians, biblical scholars, film and media specialists, and experts in language and literature to look at how theology can work with film in a creative way. The book shows that theological debate is not the preserve of an elite but happens outside the Church as well as within it ... more

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WorldCat (205)

Cinema, Religion and Values: OCIC and Film Festivals

Peter Malone, Robert Molhant

Bruxelles: OCIC (1999), 23 pp.

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WorldCat (251)

Cine y espiritualidad: Un modelo educacional para explorar la espiritualidad en historias cinematográficas

Henk Hoekstra

Quito: Organización Católica Latinoamericana y Caribeña de Comunicación (OCLACC) (1999), 152 pp.

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WorldCat (215)

Religion im Film: Lexikon mit Kurzkritiken und Stichworten zu 2400 Kinofilmen

Friedhelm Geller et al.

Köln: Katholisches Institut für Medieninformation (KIM), 3., erw. und durchges. Aufl. (1999), 765 pp.

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WorldCat (221)

CRTN Television Catalogue

Königstein: Catholic Radio and Television Network (CRTN) (1998), ?? pp.

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WorldCat (190)

Communication - Cinema - Development: From Morosity to Hope

Gaston Roberge

New Delhi: Manohar (1998), 216 pp.

"This probes various aspects of communication and cinema in the context of development and exemplifies the arguments through an analysis of three films of Satyajit Ray and two films from Bangladesh. Pleads for a serious reflection on the links between communication, cinema and development and for mo ... more

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WorldCat (213)

Soixante-dix ans au service du cinema de l'audiovisuel

Léo Bonneville

Quebec: OCIC; Fides (1998), 270 pp.

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WorldCat (250)

Katholische Filmarbeit in Deutschland seit den Anfängen des Films: Probleme der Forschung und der Geschichtsschreibung

Hans-Josef Braun, Johannes Horstmann (eds.)

Mainz: Bundeskonferenz der kirchlichen Archive in Deutschland (1998), 146 pp.

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WorldCat (231)

Jesus ging nach Hollywood: Die Wiederentdeckung Jesu in Literatur und Film der Gegenwart

Georg Langenhorst

Düsseldorf: Patmos (1998), 296 pp.

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WorldCat (205)

Imaging the Divine: Jesus and Christ-Figures in Film

Lloyd Baugh

Kansas City: Sheed & Ward (1997), 337 pp.

The book is divided into two parts - the films which depict Jesus and those films in which Jesus becomes a metaphoric Christ-figure [...] It is a good reading, extremely well researched, and for the most part clear about its own limitations.

Google Scholar (217)

WorldCat (220)

Imagens da América Latina

José Tavares de Barros (org.)

São Paulo: Edições Loyola; OCIC Brasil (1997), 142 pp.

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WorldCat (249)

50 Jahre film-dienst: Ein Beispiel für das Verhältnis von Kirche und Kultur in der Bundesrepublik Deutschland

Thomas Schatten

Düsseldorf; Köln: Katholisches Institut für Medieninformation (KIM) (1997), 263 pp.

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WorldCat (222)

New Image of Religious Film

John R. May (ed.)

Kansas City: Sheed & Ward (1997), xiii, 294 pp.

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WorldCat (198)

Film-Dienst Extra (Oktober): 50 Jahre

Peter Hasenberg, Martin Thull (eds.)

Köln: Katholisches Institut für Medieninformation (KIM) (1997), 106 pp.

Google Scholar (195)

WorldCat (183)

Vom Gottmenschentum zum neuen Menschen: Subjekt und Religiosität im russischen Film der zwanziger Jahre

Jörg Bochow

Trier: WVT Wissenschaftlicher Verlag Trier (1997), 208 pp.

"Was zunächst paradox erscheint, die sich streng materialistisch gebende Kunst der zwanziger Jahre nach religiösen Mustern und Strukturen zu untersuchen und ihr Menschen-Bild im Bezug zu religiös-philosophischen Konzepten der russischen Intelligenz, vor allem der symbolistischen Bewegung, zu betr ... more