Running head: ETHICS AND FILM PRODUCTION
Ethics and Film Production
Julie Burchfield
Regent University
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ETHICS AND FILM PRODUCTION
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Ethics and Film Production
Many believers are becoming a part of the film industry. From viewing films to creating
and producing films, Christians are attempting to engage culture through a medium that is in
high demand. Film has superseded its role as simple entertainment and has instead become an
avenue used by humanity to discover the meaning of life. McKee (1997) describes this
transformation of film when he states:
Day after day we seek an answer to the ageless question Aristotle posed in Ethics: How
should a human being lead his life? But the answer eludes us... Traditionally humankind
has sought the answer to Aristotle’s question from the four wisdoms – philosophy,
science, religion, art – taking insight from each to bolt together a livable meaning. But
who reads Hegel or Kant without an exam to pass? Science, once the great explicator,
garbles life with complexity and perplexity. Religion, for many, has become an empty
ritual that masks hypocrisy. As our faith in traditional ideologies diminishes, we turn to
the source we still believe in: the art of story. The world now consumes films, novels,
theatre, and television in such quantities and with such ravenous hunger that the story arts
have become humanity’s prime source of inspiration, as it seeks to order chaos and gain
insight into life. (p. 11-12)
People are searching for answers to the difficult questions of life. Film, being a storytelling art,
has the capacity to make an emotional connection with the audience and, in turn, prepares the
viewer for ethical and moral reflection (Johnston, 2006, p. 106-109). As a result, leaders in the
film industry have a responsibility to communicate high moral and ethical standards through the
motion pictures they produce.
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Tascon (2012), when discussing the use of motion pictures to promote human rights,
identifies film as “the embodiment of the ideals” of the film maker (p. 866-867). Film is a
personification of the film maker’s ethical and moral principles which, when transferred to the
highly expressive art of visual storytelling, is charged with meaning and emotion (Tascon, p.
866). When such meaning and emotion is present in a film, it has the power to impact the
audience even to the extent of creating a spiritual encounter within the viewer (Johnston, 2006, p.
76). Is this to say, then, that with such power comes the responsibility to create only wholesome
films that are considered safe viewing for the entire family? On the contrary. Rather,
filmmakers must include an element of dissention or even malevolence in a film in order to
encourage audiences to enter into dialogue with the cinematic narrative (Johnston, p. 64-69). It
is this dialogue that enables writers, producers and directors to realistically communicate an
ethical or moral principle. In a 1962 interview with Guideposts magazine, Walt Disney, defends
the presence of the villain in his Disney animated films:
Children are people, and they should have to reach to learn about things, to understand
things, just as adults have to reach if they want to grow in mental stature. Life is
composed of light and shadows, and we would be untruthful, insincere and saccharine if
we tried to pretend there were no shadows. Most things are good, and they are the
strongest things; but there are evil things, too, and you are not doing a child a favor by
trying to shield him from reality. The important thing is to teach a child that good can
always triumph over evil, and that is what our pictures attempt to do. (Detweiler, 2008, p.
222)
Walt Disney is a wonderful example of a leader within the media industry that was able
to effectively communicate his ethical and moral ideologies through his creations. Mickey
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Mouse, notably Disney’s most famous character, “was considered Walt’s on-screen presence”
and acted as an avenue for him to express his own personal beliefs (Krasniewicz & Disney,
2010, p. 48). “The Disney name has since been associated with the same type of family oriented
entertainment, a nostalgia for simpler times, and a belief in the inherent goodness of Americans
that Walt started so many years earlier” (Krasniewicz & Disney, p. xiii).The mission statement
of Disney was made up of only four little words, “Dream, Believe, Dare, Do” (Capodagli &
Jackson, 2001, p. 11). These words 4 words possessed immense significance and were the basis
for every one of Disney’s undertakings (Capodagli & Jackson, p. 11). He dreamed, imagining
unique characters and stories, and envisioned new business ideas. Walt Disney had strong
beliefs and these principles were the basis for his set of core values that guided both him and his
company. Capodagli & Jackson account how Disney surrounded himself with likeminded
individuals and, as a result, was able to create an empire that accurately conveyed the standards
that governed his life (p. 11). He was daring and was not afraid to take risks in order to pursue
his dreams. Walt Disney was a doer and he put forth an extraordinary effort to make his dreams
a reality. (Capodagli & Jackson, p. 11).
In 2001, while taking a behind the scenes tour of Disney World, another group of
filmmakers was inspired by Walt Disney’s commitment to his creed and his dedication to
excellence (Sherwood Pictures, 2011). Brothers Alex and Stephen Kendrick, along with Pastor
Michael Catt, possess a strong commitment to sharing the gospel of Christ with the world. The
trio encountered an article which asserted that the church was no longer among the leading
cultural influences in our society and, instead, identified film as being among the most prevalent
social stimulants (Sherwood Pictures). As a result, these three men decided to combine their
passion for Christ with their passion for filmmaking and Sherwood Pictures was born. Pastor
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Michael Catt discusses their creed and commitment to excellence when he states, “Our goal from
day one has been to make family-friendly movies that build on the Judeo Christian ethic and
communicate the gospel without compromise” (Sherwood Pictures). This ethical standard has
been apparent in each of the Sherwood Pictures production. Audiences can easily distinguish the
moral criterion that has been the basis for the films and is also the predominant message within
the films.
Despite their commitment to sharing the salvation message of the Gospel, Sherwood
Pictures has come under fire, even from the Christian community, as producing films that are
unrealistic, and more specifically of always presenting the equation of problem plus Jesus equals
happy ending (Greydanus, 2011, p. 57). Most viewers, even Christian viewers, understand that
accepting Jesus is not the commencement of a problem-free life. Other filmmakers who also
share a passion for Christ have taken a different approach to sharing their faith and promoting
Christian principles. Director Steve Taylor, along with writer Donald Miller, produced the film
Blue Like Jazz (2012) which looked drastically different from one of the Sherwood Pictures’
films. Blue Like Jazz follows writer Donald Miller through his college days at a secular school
during a time in his life when he is searching for the truth and foundation of his faith in Christ.
The film does not shy away from showing his worldly indulgences and earned the rating of PG13 for mature thematic material, sexuality, drug and alcohol content, and some language
(Vancheri, 2012). Witherington (2007) explains that “Miller is just tired of conventional
conservative religiosity…He is looking for another form of Christian spirituality that seems more
genuine and life-giving for him” (p. 176).
Film is increasingly becoming a powerful force in shaping culture and society (McKee,
1997, p. 11-12; Sherwood Pictures). As a result, those involved in film production have a
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responsibility to create pictures that are morally and ethically sound. Bertrand (2000) discusses
the relationship that exists between rights and responsibilities, specifically as it pertains to film,
stating that leaders within the film industry are obligated to work within the bounds of their
personal moral principles and to promote “the vision he/she has of fellow human beings and the
universe” (p. 29). As has been discussed previously, this worldview is going to be different for
each individual film industry leader and, therefore, their ethics and morals will manifest
themselves differently in each film. As a result, it is also the responsibility of the audience to
practice good followership, engaging in dialog with each film in order to determine the meaning
and message being presented (Johnston, 2006, 64-69).
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References
Bertrand, C. (2000). Media ethics & accountability systems. Transaction Publishers.
Capodagli, B., & Jackson, L. (2001). Disney way fieldbook : how to implement Walt Disney's
vision of 'dream, believe, dare, do' in your own company. McGraw-Hill.
Detweiler, C. (2008). Into the dark: seeing the sacred in the top films of 21st century.
Grand Rapids, Michigan: Baker Academic.
Greydanus, S. D. (2011). Calling for heroic commitment : the makers of Fireproof are improving
their craft with Courageous, their new film about fatherhood. Christianity Today Oct
2011.
Johnston, R. K. (2006). Reel spirituality. Grand Rapids, Michigan: Baker Academic.
Krasniewicz, L., & Disney, W. (2010). Walt Disney : a biography. Greenwood.
McKee, R. (1997). Story. New York, New York: HarperCollins.
Sherwood Pictures. (2011). Our beginnings: As told by Michael Catt, senior pastor of Sherwood.
Retrieved from http://sherwoodpictures.com/how-we-do-it/
Tascon, S. (2012). Considering human rights films, representation, and ethics: whose
face?. Human Rights Quarterly, 34(3), 864-883.
Vancheri, B. (2012, April 13). Movie review: 'Blue Like Jazz' strikes minor rather than major
chord. Pittsburgh Post-Gazette (PA).
Witherington, B. (2007). Living Word of God : Rethinking the Theology of the Bible. Baylor
University Press.