Forgiveness
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FastPencil Premiere. Forgiveness
CONTENTS
ACKNOWLEDGMENTS
FOREWORD
PREFACE
INTRODUCTION: THE CHANGING FACE OF FORGIVENESS
FORGIVENESS IN THE PRIVATE SECTOR. AMISH GRACE: AS WE FORGIVE OUR DEBTORS
Judith Shaw-McKnight: THE THERAPY HOUR
Deb Lyman and David Long: REDEEMING INFIDELITY
Terri Jentz: THE POWER OF RIGHTEOUS ANGER
Don Robeson: THE DANGER OF RIGHTEOUS ANGER
Liesbeth Gerritsen and Dan Glick: THE LAST TABOO
Kathy Power: PERPETRATOR TURNED PENITENT
FORGIVENESS IN THE PUBLIC REALM. THE LANGUAGE OF PUBLIC APOLOGY
South Africa’s Search for Truth and Reconciliation: OWNING THE PAST
Germany’s Penitential Journey: FACING THE PAST
Rwanda Emerges from the Darkness: FORGIVING THE UNFORGIVABLE
CONCLUSION
HELEN WHITNEY BIOGRAPHY
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As this book is inextricably connected to the film upon which it is based, my gratitude extends to people involved in both the creation of the film and of the book. The title is the same for each: Forgiveness: A Time to Love and a Time to Hate.
Above all, I owe a particular debt to my executive producer, Paul Dietrich, who approached me four years ago with an offer to make a film and a companion book about forgiveness. His passion for the subject was an inducement. Equally so was his willingness to give me complete artistic freedom. I am also grateful to his business partner and executive producer, Ian Watson. He shared Paul’s passionate engagement with the subject and offered his encouragement throughout the long period it took me to bring both projects to completion.
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I had to relinquish material because of the time limit for the television series. Filmmakers describe this painful process as “throwing your babies overboard.” While the book still takes as its starting point the interviews, I have now been able to expand the voices, to rescue some of my ‘lost babies’ and even to include new material. I returned to brilliant intellectuals whose insights shaped my thinking but who were uncomfortable in front of the camera. In the new introductions and conclusions to each chapter, I have been able to move away from the minimalist haiku style of television narration into my new voice—fuller and more textured, allowing me to provide essential context and analysis.
Writing up these interviews and going back through the printed materials gave me a chance to walk my own walk, talk my own talk about “the ache for connection.” All my films have changed me. This one has been no different. It has taught me how much I had to learn about my own subject. It has sent me on errands of penance and reminded me of my own snares of pride. When penance has been offered to me, I have struggled to practice a deeper humility. And now, more than ever, I try to be alert to “the rumor of angels” that so often goes unnoticed in our own lives.
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