Winter 5

THE SEMI

OFFICIAL SELECTION MARCH 4 2013

The

ARTISTS jobs the semi feb 12 2013

EDITOR’S NOTE

MATTHEW SCHULER

Hey everyone, we’re very pleased to present an issue spotlighting the craft of filmmaking, filmmakers, and the upcoming One Table Film Festival. First a quick word about that: the week-long festival begins TODAY and will be screening five award-winning films, one per day, followed by discussions with various directors, members of the cast, members of the LGBTQ community, and Fuller professors. Check our back cover for the complete list of films, locations, and times.

We are also thrilled to promote the brand new Windrider Forum website, launching today at windriderforum.org. The Windrider Film Forum hosts creative, energetic conversation regarding film and the issues that dominate our world. Additionally, they are launch online Webfest events designed to facilitate online filmmaking collaboration.

You can learn more by reading the press release on page 18.

And now, I hope you enjoy articles by Samantha Curley, our own Randall Frederick, and also an interview with filmmaker Daneen Akers by Syd Shook.

CREDITS Managing Editor Carmen Valdés Editor Randall Frederick Production Editor Matthew Schuler

LEGAL The SEMI is published bi-weekly as a service to the Fuller community by the Office of Student Affairs. Articles and commentaries do not necessarily reflect the views of the Fuller administration or The SEMI.

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Free Fuller Announcements: Submitted to semi@ fuller.edu or dropped off at The SEMI Office on the 3rd floor of Kreyssler Hall above the Catalyst. 35 words or less.

Advertisements: Notices for events not directly sponsored by a Fuller department, office, or organization can be submitted to semi@fuller.edu. Check our website, thesemi. org, for ad rates and deadlines.

Letters to the Editor: The SEMI welcomes brief responses to articles and commentaries on issues relevant to the Fuller community.

All submissions must include the author’s name and contact information and are subject to editing.

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Female

Cinema T

hank God the era of Twilight has passed and a new day has broken into dawn.

While I was never as much of a fan of the Twilight series as I was Harry Potter, et al, I still enjoyed them while they lasted. I even brought a few unconvinced friends on board – including my mother and The SEMI’s design editor, Matthew Schuler. But as cheeky as I might be here about the fact that yes, I am a single, straight, 30yo white male who enjoys “chick flicks” I’m more interested in what Twilight has proven to 004

moviegoers.

Besides providing a sizable income for Robert Pattinson and Kristen Stewart, the Twilight series was a boon to my home state, Louisiana. Thanks to K-Pats, several movies were filmed around my hometown, which is probably why I’m a bit softer towards the series. Maybe this explains why I’m not as quick to roll my eyes at the mention of vampires or Kristen Stewart’s bland interviews. Whether you like the films

Randall Frederick RANDALL FREDERICK (MAT, ‘13) IS EDITOR OF THE SEMI AND A CONTRIBUTOR TO THE PUBLIC QUEUE, THE HILLHURST REVIEW, THE HUFFINGTON POST, AND THEOLOGY & THE CITY. WHEN HE IS NOT WRITING, HE ENJOYS HIKING, COOKING, AND VISITING ART GALLERIES.

or the books, Twilight was an important moment in cinema. It was one of the first films in a magical movement towards what is becoming more apparent: Women are ruling the world and building franchises all their own.

In 2013, The Hunger Games will challenge newcomer Beautiful Creatures for the void Twilight has left. Naturally, some do not see this as progress since these films are grounded in the teenage experience and do not appropriately represent female moviegoers en masse. Soccer moms will see these films, as proven with the sale of the books, but Twilight changed things.

Could the success of Fifty Shades of Grey happened without publishers noticing that women were already engaging with mythic themes and exploring new ways of thinking? Or that there is significant interest not only in strong heroines, but heroines in a complex and engaging narrative? As much as I loved the Harry Potter franchise, 005

one of the things I appreciated most was that Hermione and Prof. McGonagall were just as strong as their male counterparts.

Hermione’s scholasticism, fighting abilities, and her efforts to champion the cause of the “homeless” house elves made her far more compelling than “the boy who lived.”

Cho Chang and the Patil sisters are there until the end, defeating evil and every bit as capable as their fellow male students. This resonated with a generation.

A generation is responding to this and celebrating it in their entertainment mediums because Twilight was a spring-board off what was previously a predominantly male genre – fantasy. Think about it. The largest ensemble franchises in movies were all male-driven. Star Wars, Star Trek, Lord of the Rings, X-men and the Avengers, Harry Potter, Indiana Jones – all by men, for men. Did anyone else notice that when the Avengers cast made an appearance at the Oscars, all of the women were missing from the stage? I felt it was an insult to the progress of the last four years. Before, “chick flicks” and romantic comedies rarely got a sequel (Bridget Jones’ Diary, anyone? Terms of Endearment?). Yet, if Twilight presented women as unable to be accompanied (first Edward, then Jacob, then the baby carriage), The Hunger Games is the next step in the evolution taking place - women can be strong on their own. I think Jennifer Lawrence’s win at the Academy Awards was part, parcel, and package a nod to strong women in film. I’ll admit, I was not a Jennifer Lawrence fan until I saw her make a room full of men step back in Silver Linings Playbook - including

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Robert De Niro. And now we have begun to see other films driven by women for women take center stage. While The Hunger Games and Fifty Shades of Grey are gearing up for continuing these strides, as of the writing of this article, the biggest spoilers of continuing summer franchises are that Uhura will have a stronger role in Star Trek: Into Darkness and that Wonder Woman will make a cameo in Zack Snyder’s Man of Steel before her own entry in DC Comics crossover event. Men and women are looking forward to seeing more women take the lead. This new approach to women in film, namely acknowledging them at all, marks a shift towards how blockbusters are made. The strong female leads of the coming years will not be supplementary to men, nor stand alone films, but the anchors of blockbuster franchises.

It is both a truism and cliché that franchise films have been targeted towards teenage boys… and men who live in their parents’ basement. Star Wars is credited as the first with the broad merchandising efforts of George Lucas and has been the premiere exemplar ever since. Batman, Transformers, Indiana Jones, Back to the Future, even single-runs like E.T. and The Goonies. But that demographic is not as reliable as it once was, at least not when it comes to film. Teen boys, my brother among them, are spending their money on videogames, tablets, and staying home. Not a new thing, but certainly more costly than it was when I was a teenager. In the meantime, teen girls and their mothers have filled the absence and created the new market for entertainment.

So far, their fantasies are more grounded and realistic – or at least need less special effects. Male fantasies, while lucrative, also come with large pricetags, the exception perhaps being The Hangover. These expenses stem from the most likely places, of course - devoting their attention and paychecks to videogames has caused a disconnect from the familiar as gaming worlds become more exotic, historically accurate and detailed when they do not take place on alien worlds. Why pay for a disposable and familiar world in the theater when you can spend time blowing

up lifeforms on Forerunner, completing errands in Liberty City, or sailing a ship with George Washington during the American Revolution for hours on end?

These adventures are a far cry from rural Forks, Washington and the pricetag of the blockbuster comes from leaving reality.

This is not a criticism, of course. I spent my summer helping my little brother swing with Spiderman on his PS3, and gladly took him to see the latest Dark Knight film. The

point isn’t that fantasies are bad, it is that Hollywood seems to be testing the water before they venture into Themyscira, the districts of Panem, and Downworld. And it’s looking like a good real estate venture because women, who are better educated and more employable at present, are guaranteed in the audience.

Make fun of Twi-hards if you want to, but studios seem quite smitten with them in 2013 and are scrabbling to assemble an impressive marquee for the coming years. Those hardcore fans, your sisters and girlfriends and mothers, are no more

crazy than the Trekkers, Jedis, Michael Bayites, and Sheldon Coopers among us. If anything, they are proving a stable market with predictable source materials – the bestsellers list at the local bookstore. As women fill more seats in high education, they’re earning more and spending their time reading more leisure material. Studios love a sure bet with ready source material and established audiences.

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To Forget or To Embed That is the (Emerging) Question

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recently re-watched Eternal Sunshine of the Spotless Mind. If you’ve never seen it, or it’s been a while, may I recommend you check it out as soon as possible. Jim Carrey and Kate Winslet star in atypical, yet brilliantly crafted roles - plus, it’s available on Netflix so there’s really no excuse to not check it out. As I was watching the film, I was confronted by our human capacity, and the powerful appeal, to forget. The name of the movie is based on a poem called Eloisa to Abelard. The lines go:

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How happy is the blameless vestal’s lot! / The world forgetting, by the world forgot. / Eternal sunshine of the spotless mind! / Each pray’r accepted, and each wish resign’d.

Forgetting is a pervasive theological motif.

The command to remember shows up almost 300 times in scripture and the cries of Yahweh - the God of Abraham, Isaac, and Jacob - are constantly calling Israel back to its story and its God. Why do we struggle

Samantha Curley SAMANTHA IS ABOUT TO FINISH AN MAT IN THEOLOGY AND THE ARTS. GARDENING HAS BECOME HER MOST RECENT ATTEMPT AT ARTISTIC EXPRESSION, THOUGH SHE ALSO LOVES FILM, BREAD BAKING, ESSAY WRITING, AND AMATEUR FLYER MAKING. SHE OPENLY ADMITS TO WEARING FAKE GLASSES.

with this seemingly simple command to remember? As we are becoming who we are (individually and communally), it is tempting to explore and then erase the unpleasant or unsuccessful experiences we encounter. We cycle through this explore – experience – erase pattern and call it “life” or “becoming an adult” or “moving on.” Yet, since scientific memory deletion is impossible outside of the film, in real life we become experts in “forgetting.” Through busyness or addictions like work, exercise, school, food, sex, alcohol, constantly moving, changing directions or new relationships, or simply training our minds, hearts, and friends to ignore something to the point of its disappearing, we erase all remainders of pain, hurt, rejection, and failure from who we are. But is it possible to unilaterally erase pain?

The truth is that we need experiences of failure to become, to grow, and to love. For 009

Clementine and Josh in the film, this means learning that forgetting is not all its cracked up to be; it’s neither freeing, nor healing.

Turns out, we cannot selectively erase the ugly parts. We get both sides of life - the ups and downs, highs and lows, rights and wrongs - or we get none of it. We remember and experience the roller-coaster of life or we remain blank slates, desperate for experience, for love, for hope, and for joy, as they remain always just beyond our reach. Doesn’t this describe the experience of growing up, of trying to figure out who you are, what you want, and what you’re supposed to be doing?

What, then, are we to do with the pain?

Where does it go? And how could it help to remember? The alternative to forgetting, I believe, is embedding: “To accept life in its disjointed pieces is an adult experience of freedom, but still these pieces must lodge and embed themselves somewhere, hopefully in a place that allows them to grow and endure.” -Richard Sennett The point - of Eternal Sunshine, of scripture, of life - is not to live out of, or in reaction

to, or because of life’s disjointed and often painful experiences. Remembering is not a command to remain stuck in a statically painful narrative. Rather, the journey is to discover where these experiences can embed themselves into your life of becoming. Not to forget, but to embed.

Clementine and Josh discover this in their story and the Church, I believe, is in the process of learning this hard way. I’m living in the middle of it even as I type these words.

Life is perhaps little more than the accumulation of memories that come together to build the narrative of who we are. While we have some degree of choice in the memories we create (i.e. the decisions we make about our lives), we have much more autonomy in what we do once experience becomes memory. The hard work of freedom and healing is not to forget and move on, but to embed and endure and become.

This is the art and act of remembrance.

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7t h Gay Adventists: A Movie No Evangelical Should Miss

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hree years ago I was church hunting in Los Angeles when a friend of mine, Tom, suggested I try Hollywood Adventist Church. I had never struggled with denominational fluidity until that moment.

Each time I moved cities I found what seemed to be the best fit for me and my poet husband, David: Southern Baptist, PCA, Disciples of Christ, Fundamental Independent Bible—you get the idea.

Seventh-day Adventists though were 012

a bit of a stretch. “Aren’t they a cult or something? I’m looking for a Christian church,” I told Tom. My Spanish-speaking ESL students call me a “barca” which they tell me is equivalent in English to “pushover.” So it wasn’t long until in typical barca-fashion, I got wrangled by Tom into attending a service at Hollywood Adventist—on a Saturday morning no less.

And much to my own surprise, it’s been my church home ever since.

SYD SHOOK interviews filmmaker DANEEN AKERS.

Local Adventist communities, like other evangelical populations, span the liberal/ conservative spectrum. If you went to our church website you’d see links for our Martin Luther King reading group, the gun prevention vigil that was held on January 16th, and a flier for our 5-week Lenten sermon series, the first of which is titled, “Patriarchy and Heterosexism.”

It’s probably not mere coincidence that

SYD SHOOK (MAT, ‘14) LIVES IN LOS ANGELES. SHE ATTENDS HOLLYWOOD ADVENTIST CHURCH AND CO-EDITS THE HILLHURST REVIEW, HAVING WORKED CROSS-CULTURALLY IN COMMUNITY-BASED DEVELOPMENT IN EAST AFRICA AND LATIN AMERICA SINCE 2008. SHE IS ONE OF THE FOUNDING MEMBERS OF THE NON-PROFIT GROUP, COMMUNITIES OF HOPE.

the clear glaze painted over our midcentury modern exterior turned our walls purple in the sun. Even in the Sixties, God must have foreseen a community that would grow into its nickname “the purple church.” But our progressivism hasn’t left us denominationally indistinct.

Adventist churches do have a unique culture among Protestant Evangelicals.

And even within our purple walls, you’ll 013

find healthy constituencies of vegetarians, Ellen White enthusiasts, and folks who await resurrection after “soul sleep.” Most of all though, you’ll find a devoted group of people who show up each week because they believe that God is doing something good in the world and the way to get in on it is by following Jesus in a community lead by the Spirit.

I say—funny! The film will be screening at Fuller on March 9th from 7:30-9 pm as part of OneTable’s first annual film festival.

Tickets can be reserved online and are free for Fuller students. A nominal admission of $6.27 is charged for non-students. A few of the film subjects will be available for discussion post screening after as well as Fuller faculty.

Being a part of the larger evangelical tradition means that we share in the common goodness of the Christian family, but also in her demons—one of which has been varying degrees of homophobia.

LGBTQ evangelicals are struggling nationwide to find churches where they can find acceptance—where they can live in committed loving relationships and as fully participating members in the life of the church. Their voices are growing louder, and as they do we’re less and less able or inclined to ignore them. Filmmakers Stephen Akers and Daneen Ayres, fifth generation Adventists, have lent their talents (and given up much of life as they once knew it) to honor those voices. Their film Seventh-Gay Adventists “explores [the] intersection of faith, identity, and sexuality through the stories of gay and lesbian Adventists who are struggling with their desire to belong to the church they know and love and their need to be fully accepted for who they are.” As Daneen puts it, “The film has been connecting in…powerful ways even for viewers who can’t tell their Adventists from their Mormons!” And I’m hoping we as Fuller students can. But even if you can’t and you’re wondering, “Is this film for me?” as a Southern Baptist turned Presbyterian turned Disciples of Christ turned Adventist and seminary student I can tell you, resoundingly: Yes!

I was able to catch up with Daneen after a recent Hollywood screening. She didn’t skip a beat, cheerily responding to my journalistic probing, which may make Fuller history as the first phone interview conducted from the vestibule of the ladies bathroom on the first floor of Payton Hall.

I saw the film myself at a Feb. 16 screening and can attest that it is masterfully produced: well-paced, visually pleasing, challenging, heart warming and—dare 014

I’m guessing you and Stephen set out to make this film for a specific group or groups of people. Now that it’s out, what kind of people have been able to relate to it really well or have found it very meaningful?

We really had three main audiences in mind. We first really wanted LGBT Adventists to feel like their story had been told. Of course, it’s not a complete picture of every experience. But, for those who are longing to remain in the life of the church and also accept their gay or lesbian identity, the film has really been embraced by the community as telling their story well. It is only the L and the G parts that get represented—there are only lesbian and gay stories told in the film. We don’t have any bisexual or transgender stories. We did at one point go out looking for that. There comes a point when you can only have three, maybe four, characters at most in a feature length film and have enough time to actually fall in love with them, which is what we wanted to have happen. So we had to pare back. The Bs and the Ts always

get left out and they did in this film too.

I’m hoping in the special features we can include some of that. I really actually think there should be a transgender Adventist documentary. I think it deserves its own experience. So LGBT Adventists were really the first audience. They weren’t necessarily a target audience because I don’t know that they needed to move as much. But we wanted to make sure they felt honored and respected and well represented.

[The second group would be] the sort of moveable middle Adventist audience.

And I’ve actually extended that to any conservative denomination. We’ve had people from every walk of faith see the film now. And if they come from a conservative background—or even if they come from a mainline background—it’s often the exact same questions and themes of identity and belonging that are in play. It’s the question of, “How to I reconcile my faith with who I am?” In some ways it’s almost easier for people from another background to see the film because their own church system isn’t indicted.

And then the wider audience is the LGBT community. Every gay Adventist I’ve ever talked to has said that coming out with their faith orientation was just as hard in the LGBT community as it was to come out with their LGBT identity in the church.

It’s just not understood why you would feel identity with a faith that’s not known to be tolerant, much less accepting. I’ve talked to a lot of gay Adventists and I think they’re sort of envious of Jews. They say, nobody asks a Jew to go be something else.

They understand that you’re kind of born this way—that it’s part of who you are. It might not be ideal, but this [Adventism] is sort of your family of origin. I think anyone who’s part of religious subculture that has distinctive rituals and beliefs is probably going to feel this way.

Some of us tend to think that any gay

person who’s in a relationship has stopped caring about or listening to the will of God. And that’s the biggest assumption I wanted people to have challenged after the watching the film. It’s actually a really common response from Christians who watch the film, that I might not know what I think theologically about same-sex relationships but I can see that the people in this film are following Christ just like I am and Who am I to say that their relationship with God is not as valid as mine? I got a great e-mail from somebody yesterday who said, “After watching this film, my dogma was challenged, but not in way that hit me over the head. But I realized that my theology and my ethic of trying to treat people the way Jesus would are not in alignment. And now I have to go wrestle with that.”

One of your LGBT film subjects, Marcos, who was—and is now again—a pastor, says in the movie, “We pay a very high price to keep our faith.” What, that you have seen, are some of the costs of trying to stay in a faith community when you identify as LGBT? The costs are very high. If you’re not fully out, it’s just a continual wondering If all these people here who treat me like family knew, really knew, who I was, would they even want to talk to me? There’s that constant fear of rejection and living on the edge.

And when someone is out, or in some sort of process of coming out, there are just a wide variety of judgments. The bestcase scenario in the Adventist church is “love the sinner hate the sin.” And I like to point out, as a former English teacher, that the conjunction “but” in the English language—its grammatical purpose is to negate the clause that came before it. It’s like a clever argumentative tool I recognize your position, but here’s my better answer. I 015

think that’s exactly how the vast majority of LGBT people will say they feel treated in church—they feel the hate, not the love.

Often they risk being disfellowshiped. They risk being told that they can sit there but can’t participate in the life of the church.

There are all sorts of misunderstanding and misinformation. I can’t even tell you how many times people get told that they aren’t supposed to be around the children.

One of the stories that breaks my heart is about a woman in her twenties who had an eighteen month old. When they found out she was a lesbian, they said, “You can drop him off at Sabbath school, but you can’t come yourself,” which is, of course, so incredibly degrading and dehumanizing.

It’s not a surprise that they stopped going to church. The amazing part of that story is what she told me a few months later at a screening. It turns out that the dad of one of our film subjects is a Kansas-Nebraska Adventist conference president. When he heard about this story, he personally called to apologize for how she had been treated.

She didn’t know he had a gay son at the time. Actually, she was in school with David, but he was deeply in ex-gay therapy and so not out at all! But she went back to church.

She and her son, who is now eight, are members of a church in Southern California.

And I just think, “Would any heterosexual put up with treatment like that and every go back?” The amount of oppression and injustice that LGBT members have to forgive is an incredibly high cost. And I don’t know if I could do it.

What surprised you the most in making this film?

We set up theses story booths all around the country about three and half years ago.

We literally drove 11,000 miles to every major Adventist population center in the US pretty much. We tried to spread the word that we wanted to talk to LGBT Adventists and their families and let them know where 016

we were going to be and that kind of thing.

We just heard so many stories over and over with similar themes—so many people just had no idea growing up that there even was such a thing as a gay Adventist. You know people just thought they were the only ones. I think that’s improving now. And stories of rejection: people, for years, on their knees every night praying for this to go away—trying all sorts of things to try to get this to go away.

So were you surprised by the amount of pain that was happening right under your nose?

Well, I was surprised by the pain, but what surprised me even more was the grace and the forgiveness that people were willing to give to the church. I was expecting more anger and vitriol. Of course, that’s there, but it’s not what’s dominant actually. Like the people in our film, they’re not angry. Even though they mourn and have a great sense of loss, they’re not bitter. And that shocked me because I’m not sure I’d be that way.

I think one of the other things that surprised me is that I had assumed that all gay Adventists that had made peace with their orientation were also liberal or progressive Adventists. And that is not true at all. That is an assumption I had to be quickly disabused of. Many of them are devout Adventists who would be happy to have a revelation seminar and talk to you about the sanctuary doctrine or something like that. They’re far more traditionally Adventists than I am in many ways. It’s good to realize that no one should be essentialized or stuck in one category just based on one aspect of their identity.

For the rest of the interview, please visit our website, thesemi.org or onetablefuller.wordpress.com

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Windrider Web Fests:

Come Experience

the Magic Nine years ago we hosted our first Windrider Forum at Sundance Film Festival with the aim of creating an “interactive space” between filmmakers and film lovers — a place for creative, energetic conversation about film and the issues that matter most to all of us. Since then, we have expanded, offering our forums at a number of locations globally. Each time, we have experienced firsthand the powerful interaction that takes place, especially during the filmmaker Q&A sessions. Until now, only those in attendance could enjoy the energy and creativity generated in that moment. That’s why we are launching Windrider Web Fests. Through the Windrider Forum Website, Facebook and Twitter, we hope to re-create the intensity and power of discussion that’s up till now been limited to a room full of filmmakers and fans at any one of our forums.

via the Web with movie fans everywhere.

Filmmaker Fridays Start March 8 on the Windrider Facebook Page http://www.facebook.com/pages/Windrider-Forum/198824360162792?fref=ts Every Friday, we’ll facilitate a social media conversation about film, filmmakers and issues that inspire, concern and drive the art.

We’ll include a short video or an interview with the filmmaker, plus additional info (bio, website, filmography), and kick-off an interactive online forum.

Sabbath Reflections begin on Sunday March 10 at the Windrider Forum Website www.windriderforum.org

Windy Wednesdays Start March 6 at the Windrider Forum Website www.windriderforum.org

Every Sunday, we will offer a series of reflections and discussion questions as a resource for anyone who is interested in hosting similar conversations oriented around the power and meaning of film.

Every week, we’ll show a compelling, award-winning short film that inspires and engages through the power of story. We have chosen each one for its cinematic excellence and storytelling craft. Many of these films have never before been widely viewed, and we are excited to share them

We are very excited to give our online audience a chance to discuss the themes of these wonderful films and meet these groundbreaking filmmakers online. We’re convinced you’ll be thrilled with what you see and hear, and how easily you can join the conversation.

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Ministry

Enrichment UNDERSTANDING HOSPITAL CHAPLAINCY: HOW TO PREPARE FOR CPE Rev. Cheri Coleman, Chaplain Tuesday, February 19th, 2013 1:00 PM - 3:00 PM Conference 220 (Second Floor, 490 E. Walnut St)

Rev Cheri Coleman, a Fuller graduate and a current CPE supervisor at Arcadia Methodist Hospital, will be sharing important tips on how you can best prepare for your CPE experience. This seminar fulfills the requirement for interns applying for CPE and also fulfills a general Ministry Enrichment Seminar requirement for FE1. For more information on CPE, please access the CPE packet which can be found on the Field Education website.

ORIENTATION TO THEOLOGICAL REFLECTION Dr. Scott Cormode Friday, April 5, 2013 12:00 PM - 2:00 PM Payton 102

Participation in Field Education’s Orientation to Theological Reflection is required for those enrolled in their first quarter of the FE501 Parttime Church Internship (FE501A), FE533 Full-time Church Internship (FE533A), or FE500 Ministry and Leadership Practicum, for the Spring Quarter 2013. Contact the Office of Field Education at 626.584.5387 or fielded@fuller.edu to sign up.

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March

March

10am

11:30am-2pm

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ANGLICAN: CATHOLIC, EVANGELICAL, & CHARISMATIC? Payton 100 Fr. Jose Poch and Rev. Cathie P. Young will be share about what it means to be Anglican and Charismatic, and will also take time for Q & A. Sponsored by the Pneuma Society. bit.ly/XIJbpC

March

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8:30am-3:30pm CELEBRATION OF CREATIVE EXPRESSIONS Travis Aud A celebration of creative expressions: soloists, choirs, art sale, spoken word, preached word.

One of a series of events commemorating Black History Month.

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MOST HOLY THEOTOKOS, SAVE US! Presented by the Brehm Center and Galerie Gabrie, this exhibition is focused on icons reflecting the life of the Most Holy Theotokos with accompanying lectures on March 7 & 28.

March

4-9 7pm

March

13

12pm-3pm

ONE TABLE FILM FESTIVAL

COMPOSTING WORKSHOP

Travis Aud

The Quad

The films being screened are God Loves Uganda, How to Survive a Plague, Milk, Pariah, and 7thGay Adventist.

Come learn how to compost!

Hosted by G3, helping to green Fuller.

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11:30am-1pm WOMEN IN MINISTRY: A PANEL DISCUSSION PAYTON 101 Clementina Chacon, Grace Lubwama, Cassie McCarty, Elaine Vaden. Register

by Feb 20 at osa.fuller.edu.

10 7pm

“RISING FROM ASHES” FILM SCREENING AND DISCUSSION WITH FILM MAKER Peninsula Covenant Church 3560 Farm Hill Blvd. Redwood City, CA 94061 Fuller and Windrider invite you to a special film screening and conversation with the film makers.

Open March 4 through May 10 at the David Allan Hubbard Library.

Feb

March

March

01

10am-12pm

March

4-9 7pm

MYERS BRIGGS WORKSHOP

ONE TABLE FILM FESTIVAL

Pasadena Campus

Travis Aud

Register by Feb 25!

The films being screened are God Loves Uganda, How to Survive a Plague, Milk, Pariah, and 7thGay Adventist.

sarahtaylor@fuller. edu

March

25 10am

SPRING BREAK! Everywhere Time to get weird.

Or sleep.

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PRESENTING the 1ST ANNUAL

F I L M FESTIVAL T H E L G B T Q C O M M U N I T Y, FA I T H , A N D F I L M

March 4-9, 7PM in Travis Aud. Monday

$5 without Fuller ID, free for students.

MILK

Tuesday

onetablefts@gmail.com @OneTableFuller (#OneTableFF) facebook.com/onetablefts

GOD LOVES UGANDA

w/ Tommy Givens and Reel Spirituality PLUS Director Roger Ross Williams

Wednesday

Discussion Forum w/ OneTable Thursday

PARIAH

w/ Erin Dufault-Hunter

Friday

HOW TO SURVIVE A PLAGUE

w/ Rob Johnston and Peace & Justice Advocates

Saturday Gala (in Payton 101)

SEVENTH-GAY ADVENTISTS

w/ Glen Stassen and Theological Graduate Union PLUS Directors Stephen and Daneen Akers and ďŹ lm subjects Colin and David Evans-Carlson

OneTable is a Fuller Theological Seminary student group. We hope to facilitate healthy and safe dialogue about LGBTQ topics without being divisive. We welcome all to join the table.