Managing Media in a Single Parent Home

Secret messages in the media battle against single moms who work hard to instill family values in their kids’ lives. Unfortunately, media is ubiquitous and moms can’t filter every message presented to their loved ones. The only solution is to train their kids in how to discern the secret and morally damaging messages in the media for themselves.

Single Mom Managing MediaI had the privilege of teaching all three of my kids how to “read” the media and disarm the messages that were contrary to their beliefs and our family values. It took time, but once learned, it was a tool they could use whenever they chose. This included the skills of discerning product placement, hidden political statements, and subliminal messages.

Since it would take an entire book to share all the things I taught my kids, I’ll just point out a few key thoughts to help single moms bring awareness to their family. The below points will work for video games, Internet pages/programs, television, and feature films.

POINT 1: All Media have Messages. Youth are content watching shows that don’t require any thought. When a viewer takes in a message without consideration, he is telling his subconscious that the message is safe and worth storing in his memory. The accumulation of such messages eventually gives decision-making weight to the conscious mind. Therefore it is important that the viewer understands the message being received and makes a critical judgment of it. This activity allows the message to then be stored appropriately as a safe or unsafe idea, which will only make a positive difference during times of decision.

POINT 2: All Media have Layers. Our attention spans vary and we move in and out of a form of consciousness while receiving messages through the media. To make sure all the messages are caught and given due consideration before storing them in our memory, we have to discern every layer of presented plotlines. Since films can have up to five plotlines and a theme statement, it is helpful to discuss bigger shows with friends and family to learn what may have been missed. Keep in mind that everything that is caught can be judged and properly remembered as good or bad, while those things that hit the subconscious without consideration are stored without proper discernment.

POINT 3: All Media have a Worldview. The writer, director and editor impact the story. Each brings their own viewpoint to the project and influences the film’s worldview. This results in purpose driven creative types being able to make specific statements to influence their audience. And for those filmmakers who are less purposeful in their creative work, their personal worldview will still come through.  The message may be based on their lifestyle or all of the little choices they made during the production. In either case, a worldview is created in every project.

I recently watched a movie by a new Christian filmmaker. It was clear what Christian message he intended to make in his story. But for the discerning eye, it was also clear that he added two additional messages based on the choices he made in production. The additional messages came from his old lifestyle and were contrary to his new beliefs. An undiscerning viewer that trusted the Christian film to be good may have blindly received two bad messages as if they were good ones.

We can no longer afford to blindly trust a Christian film to be good. We must instead learn how to discern the messages in the media and judge the good to be good and the bad to be bad. The proper juxtaposition of these ideas in our mind allows us to maintain a healthy mindset, worldview, and lifestyle.

I’m convinced that viewers can’t be negatively influenced by messages they discern and judge as bad. Viewers are only susceptible to the messages they allow into their soul without consideration. Therefore, I encourage viewers to be aware of the messages they receive and determine if they are good or bad. By acknowledging the bad as being bad, it disarms its ability to influence us.

© 2012 By CJ Powers
Photo © Aaron Amat – Fotolia.com

The Basics of Screenplay Conflict

Every great film is steeped in conflict. Every bad film lacks conflict. The difference is easy to spot, as the only way to move a story forward in film is through conflict. Or more simply put, conflict is to film what sound is to music. Without it, there is no story worth watching.

When a film uses conflict to grab our thoughts and emotions, we lose track of time during the journey that we’ve been placed in through story. When conflict is not present, it doesn’t take long to realize we’re sitting in a theater and waiting for the movie to revive itself.

Writer Robert McKee once said, “Story is metaphor for life, and to be alive is to be in seemingly perpetual conflict.” For a film to demonstrate an honest moment between characters, it must reflect that basic element of being alive. Conflict must be present to some extent in order for the characters to banter about their topic, or dive more deeply into the unspoken or sub-textual topics presented.

There are three main levels of conflict within a character’s life: Inner, personal, and extra-personal.

INNER CONFLICT – This conflict is built within the character’s consciousness. The battle takes place in the mind or the spiritual realm. It can be motivated by love or pain, and it must drive visible actions for the viewing audience to understand the character’s plight.

INTRA-CONFLICT – This conflict is more dramatic and resides within the relationships of each character and how he or she plays off of the protagonist. It is born out of the inner circle of the protagonist’s relationships. The focus rests on the more outward expressions of the relationships and how they unfold within the story.

INTER-CONFLICT – This conflict is made up of everything that is outside of the character’s soul and relationships. It encompasses the entire world surrounding the character including circumstances and outward interference.

Based on the three above forms of conflict, every scene can explore one or more of the categories. Each conflict can include shifts in power, which might play out as a change in attitude or an exchange of which character is driving the conversation. In the case of inner conflict, the power exchange may show up in the character’s actions not matching up with his words – Saying one thing, while doing another.

It’s my belief that the stronger the conflict, the more interested the viewer is in finding out what the ramifications are of the exchange. This drive to understand how it will resolve builds the desire within the audience to watch the next scene in hopes of learning the answer. Therefore, the greater the conflict the greater the need for resolve, causing the viewer to be engaged in the story, losing track of time.

Stories that do not have good conflict are dead and tend to bore the audience during the second act. Those who have watched such films and voiced their like for the story are typically individuals who actually tolerated the poor story in the name of a cause or something higher than themselves. They are typically speaking to the concept or the idea the film held, not the quality of the production or performance.

Conflict is a must in every great story. Without it the stories lack honesty and integrity. For instance, a story of redemption will not work if the protagonist is a good person who gets better. It is only an honest portrayal of redemption if the protagonist starts out marred by his bad choices, which would be demonstrated on screen.

Unfortunately, many Christian moviegoers have adverse reactions to films with a flawed protagonist, which thereby forces Christian filmmakers to tell weaker stories. The opposite is also true. The secular or general moviegoer can’t stand films that are about good people who get better because it is not natural or realistic in life. They see it as a false appearance of life and every message within those films are immediately discounted for lack of an honest portrayal.

The only course a Christian filmmaker has to get a healthy message to a general audience is to make a secular film with an honest moral message at the heart of it. However, it would be very hard to find investors for such a story, as the film would feel foreign to believing investors and questionable to secular investors. But, it would make for the best crossover film.

What type of film would you want to see, or make?

© 2012 By CJ Powers
Photo © auremar – Fotolia.com

 

 

 

6 Steps to Transform A Character in Two Hours

In the story Tried & True, written by Guy Cote and me, the film opens with the protagonist or Hero being trapped in a form of slavery that is perceived as freedom. By the end of the film, he had become his own free man. To move him from slavery in Act 1 to freedom in Act 3, we had to take him through several developmental stages. Hopefully this process will help other filmmakers achieve the same transformation of a character in two hours.

I will use the ABCs & D of Transformation. When you read through my steps, consider this chart:

START     A     B     C     D     END

STEP 1: Determine the positive trait you want for the protagonist by the end of the film. Write that trait down under letter A. For our story I wrote, “Freedom”.

STEP 2: Determine the opposite, or the contradiction of that trait, and write it down under letter C. I wrote, “Slavery”.

STEP 3: Determine what is half way between A and C and write the word down under B. I wrote, “Restraint”.

STEP 4: Determine what the double negative of C is and write it down under D. I wrote, “Slavery perceived as Freedom”. This is the double negative because nothing is worse than being a slave, except for being one without knowing it. Then again, self-enslavement might be worse.

STEP 5: Align the ABCs & D in reverse order of the story.

STEP 6: Write the character development traits into the story. Since each act is about 25 pages, you can spread out your development of each condition within the 25 pages. The idea is to take the character from their worst state to their best state in 25 page increments.

My character went from:

In Act 1 of Tried & True, the Hero is a man who enjoys woman and drinks. It is his choice lifestyle because it is the opposite of what his father does, or so he thinks. What he doesn’t realize is that the lifestyle controls him. In Act 2A the Hero finds himself struggling to solve his problems and finds that he is drawn or hooked, like a slave, to women and drinks for a quick temporary fix, but is redirected by the Heroine of the story, which helps his character to grow.

In Act 2B, the Hero doesn’t need anyone’s help to realize that women and drinks don’t solve his problem and he decides to restrain himself from returning to that path. By Act 3, the Hero has become a new man who faces his struggles head on and no longer has a need for women or drinks. In his freedom, the Hero finds true love and happiness.

© 2012 by CJ Powers
All Rights Reserved.