Interreligious Dialogue Groups Enabling Human Agency

Evidence has shown that interreligious dialogue is one of the paths to build bridges among diverse cultural and religious communities that otherwise would be in conflict. Some literature reflects, from a normative standpoint, on how interreligious dialogue should be authentic and meaningful. However, there is scarce literature on what conditions contribute to this dialogue achieving its desirable goals. Thus, our aim was to examine such conditions and provide evidence of how interreligious dialogue enables human agency. By analyzing the activity of interreligious dialogue groups, we document the human agency they generate, and we gather evidence about the features of the conditions. For this purpose, we studied four interreligious dialogue groups, all affiliated with the United Nations Educational, Scientific and Cultural Organization’s (UNESCO) Association for Interreligious Dialogue (AUDIR), employing in-depth interviews and discussion groups. In these groups, which operate in diverse and multicultural neighborhoods, local actors and neighbors hold dialogues about diversity issues. In so doing, social coexistence, friendship ties, and advocacy initiatives arise. After analyzing the collected data, we conclude that for interreligious dialogue to result in positive and promising outputs, it must meet some principles of dialogic learning, namely equality of differences, egalitarian dialogue, cultural intelligence, solidarity, and transformation.

The Art of Cinematic Storytelling

The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts, and Transitions is a practical introduction to the design of shots, cuts, and transitions for film, video, television, animation, and game design. The author-illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book’s clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning, and continuity editing. This book delves deeply into controlling the audience’s understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups, and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots, and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film.