Preaching for everyone and for no one - STM Dissertation

The English version of my STM Dissertation, "Preaching for everyone and for no one - History and Production of the Toque de Vida TV Program". 

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ABSTRACT

This dissertation examines the history and production of the television program Toque de Vida, focusing on its unique contributions to Lutheran preaching through the medium of television. It explores the program's development, from the technical aspects of production to the theological and homiletical practices of its presenters. By analyzing interviews with three producers and eight speakers, the study identifies the challenges of adapting traditional face-to-face preaching methods to a televised format. It highlights the presenters’ efforts to craft messages rooted in Lutheran doctrine and classical homiletical approaches, tailored to engage an anonymous and imagined television audience. The research emphasizes the importance of delivering clear, concise, and illustrative messages that resonate with the daily lives of viewers, aiming to communicate the Gospel effectively. This study underscores the evolving nature of Lutheran preaching and its potential in modern media contexts.

Keywords: Homiletics, Sermon, Preaching, Television

 

INTRODUCTION

 

The Evangelical Lutheran Church of Brazil (IELB) has historically pursued initiatives in television broadcasting to fulfill its mission of sharing the Gospel of Christ with as many people as possible. Since the launch of its first program, A Hora, in the 1970s, and later programs like Expectativa, which were syndicated in various regions of Brazil, the IELB has consistently sought adaptation and continuity. However, despite these efforts, the IELB never managed to sustain a daily program, and unfortunately, each initiative ceased after a certain period.

In November 2004, Toque de Vida (Touch of Life) premiered, a project of CELSP (St. Paul’s Lutheran Church) and its sponsor, ULBRA (Lutheran University of Brazil). The program was designed to air daily on ULBRA TV, the university's new television channel, and broadcast at the start (8:00 a.m.) and close (near midnight) of the daily schedule. With a concise "music and message" format, each six-minute episode featured a brief devotional message, a music video, and a short closing remark emphasizing the channel’s Lutheran confessional identity.

After 11 years of broadcasting, Toque de Vida offers valuable material for a homiletic and communicational study by the IELB. This study aims to explore the program’s duration, periodicity, structure, and content. Key research questions include: What guiding principles shaped the content? What homiletic references did the presenters use in their message development? How was the "anonymous audience" conceptualized, given the absence of direct interaction?

This analysis is grounded in Lutheran homiletics, addressing the challenges of Gospel communication in a postmodern context characterized by pluralism and fragmented meaning. Anthony Cook, in his article “The Media as a Source of Information and Identity,” describes the postmodern individual as a "patchwork quilt" of diverse, self-constructed identities, disconnected from external paradigms.[1] However, In contrast, Ely Prieto argues that as preachers, it is essential to confront postmodern individual truths with the metanarrative of Scripture, enabling the Holy Spirit to make the story of the Gospel personally transformative.[2]

A central aspect of this study is the tension between theology and communication. David Luecke’s research on the two largest Lutheran churches in the United States suggests that an emphasis on effective communication can sometimes lead to a departure from traditional Lutheran norms in preaching and worship. This tension raises important questions about balancing theological fidelity with listener engagement[3]

From a homiletic perspective, this study examines how paradigms for constructing face-to-face sermons, such as those presented by Caemmerer and Walther in the United States, and Scholz, Jagnow, and Prieto in Brazil, adapt to television. These paradigms reveal both the challenges and opportunities for Gospel proclamation in this medium.

Additionally, the study considers the presenters’ perceptions of their audience, expectations, and challenges. Stuart Hall’s work on television discourse, particularly his Encoding/Decoding model, views audiences as active participants who interpret media messages through their own cultural and personal lenses. Similarly, Jacks and Escosteguy emphasize that media messages, as cultural forms, are subject to diverse interpretations, often differing from the sender’s original intent. Reception studies thus involve comparing the intended message with the audience's response.[4]

This research is justified on several grounds. Historically, it documents and analyzes the production of Toque de Vida, an unprecedented opportunity for Portuguese-speaking Confessional Lutheranism to share the Gospel with a broad, unknown daily audience over an extended period. Theologically, it examines how Lutheran homiletics adapts to television, striving to preserve doctrinal integrity while navigating the unique demands of this medium. Finally, it contributes to the theoretical understanding of Lutheran preaching on television, an area that remains largely unexplored within the IELB.

 

 

 

1.    THE HISTORY OF THE TOQUE DE VIDA TV PROGRAM

The Toque de Vida TV program marked the return of the Evangelical Lutheran Church of Brazil (IELB) to television communication in the 21st century, following an interruption that began in the late 1980s. This initiative reflected the IELB’s efforts to reconnect with the Brazilian population through modern media platforms, despite the decline in communication activities that had been prominent in the previous century.

 

1.1.          Communication in IELB's History: Radio and Television

 

Founded in 1904, the IELB started with its first communication vehicle, a print publication: Evangelish-Lutherisches Kirchenblatt für Suedamerika (Journal of the Evangelical Lutheran Church for South America), which released its inaugural edition in December 1903.^[5] By 1917, the church began circulating its first Portuguese-language periodical, Mensageiro Christão, which was later renamed Mensageiro Luterano.^[6]

The IELB’s radio ministry began in 1929 with Rev. Rodolpho Hasse broadcasting the first Lutheran service. Rev. Hasse went on to establish a significant milestone in Lutheran radio communication on April 6, 1947, when he hosted the first Hora Luterana (The Lutheran Hour) program in Rio de Janeiro.[7] By 1963, Hora Luterana Internacional (The Lutheran Hour International) aired on 25 radio stations across Brazil, while several local congregations also hosted their own programs.[8] During the 1970s, pastors Johannes Gedrat and Rodolpho Warth recorded and distributed programs to 35 stations. It was during this time that Hora Luterana launched the Cinco Minutos com Jesus (Five Minutes with Jesus) program.[9]

In December 1976, an extraordinary convention led to the creation of the IELB’s first Department of Communication.[10] However, the 1990s saw setbacks in this area, as the church reduced its presence on both television and radio.[11] Throughout the final decades of the 20^th century, however, and in the beginning of the 21st century the IELB regularly promoted discussions on communication and sought to emphasize its importance, particularly in leveraging available media resources for outreach..[12]

 

1.2.          IELB and television

 

In 1960 IELB turned its attention to TV for the first time. The Church's National Convention that year gave the Department of Parochial Education the responsibility of looking into the possibility of starting religious programs on TV.[13] This expectation was already high in 1962, when there seemed to be a concrete possibility of broadcasting the American program “This is Life”, though this project ultimately did not materialize.[14] In the early 1970s, the scenario was still not different. But, in 1972, the first IELB initiative took place on a television channel, with the American film “O Natal é...”, (“Christmas is…”) overdubbed by The Hora Luterana and presented on Rede Globo de Televisão.[15]

The first program that the IELB effectively aired on a television channel was the weekly A Hora, (The Hour) in the city of Erechim, RS, on TV Erechim (Alto Uruguai – RBS TV), produced and presented by Pastor Edgar Tilp. Paulo Buss reports that “for four years, it remained the only IELB program on television”.[16] Then, it was in 1980 that another television program took shape. A Voz da Cruz, (The Voice of the Cross) was broadcast on Sundays in Cruz Alta, RS, on channel 3. Coordinated by Pastor Mario Lehenbauer, the program featured a team of pastors including Paulo Nerbas, Waldemar Raimann, Ari Thoma, and later, Valdo Weber.[17]

Other subsequent IELB television initiatives, as reported by Buss, include:

- Expectativa (Expectation): Debuted on September 7, 1980, in Vitória, ES, with 10-minute episodes broadcast on TV Gazeta. The program was led by Pastor Nilo Figur.

-The same program Expectativa started to be retransmitted in Cascavel, Paraná, from November 8, 1980, on TV Tarobá, but it had a short life on air. In the second phase, starting in 1983, it was still retransmitted via satellite but with local topics and highlights.

- Fé e Esperança (Faith and Hope), a program from the “Porto-Alegrense” Circuit, produced and presented by Pastor Paulo K. Jung on TV Gaúcha. The three-minute program aired on Fridays and was also hosted by pastors Galdino Schneider and Gerhard Grasel.[18]

- Encontro (Encounter): a 15-minute program airing in Florianópolis from 1983, produced by Pastor Martinho Sonntag with support from Pastor Daltro Tomm..[19]

As a result, in 1984, IELB had programs on eight television channels in four states, with 93 minutes per week. However, as Buss reports,

The difficulties in producing the programs and the high cost of maintaining them meant that, after a few years, the programs stopped airing. Thus, by the end of the decade, the IELB had stopped using television as a vehicle for its message.^[20]

 

Reflecting on the historical difficulties of IELB in being a church that does not regularly invest in actions other than internal communication[21], and considering that everything happens within a historical context, we raise two clues for this outcome, among several others that might be listed. They date back to the beginning of the Synod and the German settlement in the state of Rio Grande do Sul, the birthplace of the IELB.

Pastor and Historian Martin Dreher, when telling the story of Pastor Wilhelm Rotermund during the German settlement in São Leopoldo, mentions that a large part of those who arrived here came from the region in Germany called Hunsrück. There, the inhabitants had many problems due to religious reasons. As the law provided that the religion was determined by the prince, the families could be Lutheran one day, Calvinist the next and Catholic later. It ended up being natural that, over time, religion ceased to be a public matter for them; “no public confession of faith was made! Faith is something interior, which is almost never communicated, because it can change 'with each sovereign.”[22] Over time, religion became a private matter, rarely discussed openly by these people. When you talk about converting someone, it might be even for the political view, but never for the religious one – which was a private thing.

We observe grandmothers reading their prayer book, closed in their rooms, but we don't remember seeing them talk about their faith. We see them going to church, but we don't see them witnessing their faith with words. Her female ancestors came from Hunsrück. Would their mothers and grandmothers have taught them that religion is not talked about because it is a dangerous thing?[23]

This cultural reticence may have influenced later generations, leading to a hesitation in public expressions of faith..

The second clue emerges from the main reason for the Missouri Synod to come to Brazil, when starting its work in Rio Grande do Sul. According to Pastor and Historian Walter Steyer, it was done so to gather German immigrants who wanted the presence of the Confessional Lutheran Church and provide them with pastoral care. The IELB emerged focused almost exclusively on serving Lutheran families of Germanic origin.[24]

These two clues seem to contribute to the scenario and, consequently, to the understanding of the difficulties in maintaining, in the long term, mass communication initiatives, which normally involve high financial investment. Then, it seems natural to understand that the resumption of the IELB's missionary work through a mass vehicle – television - with regularity, consistency and the possibility of long duration would take place in an environment that was born with the vocation of "going public", and where the essential ministerial work is with the public not belonging to the Synod: The University.

 

1.3.          The Toque de Vida program

 

The Toque de Vida program marked the IELB's return to broadcast television in Brazil in 2004.[25] After many years absent from this medium, the daily program premiered on November 26 of that year as a project of ULBRA's Pastoral Ministry, launched in partnership with UlbraTV.[26] Dieter J. Jagnow describes the program as consisting of four segments distributed over six minutes: an opening, a message, a music video, and a closing.[27] He adds: “The program is produced and presented by Pastor Lucas Albrecht, who works in the Campus Ministry.”[28] Jagnow further quotes that:

the language of the program was not developed for those who already have ties to a religious denomination, but to try to communicate with those who do not yet have, or still do not know, the Gospel.[29]

Its focus was on connecting with a broader audience outside the Lutheran community.

1.3.1 Production routine

 

To gain insight into the technical aspects of production, interviews were conducted with three producers who worked on Toque de Vida: Tatiana Nucci, Fernanda Chacon Bordinhão, and Fabiano Ribeiro da Silva.

Tatiana Nucci, a journalist and publicist, was involved in the program from its inception in 2004 until 2007. Nucci explains that the message segment was the longest and often made analogies to everyday life.[30] She also mentions that the program started to air at the opening and closing of Ulbra TV's daily schedule.[31] The show's production in the 2004-07 period consisted of a basic routine: the presenter organized all the show's content during the week. The team, based in the ULBRA TV studios in Porto Alegre, traveled to the ULBRA campus in Canoas once or twice weekly for recordings.[32] Nucci details the recording process: “we divided it into the following moments: heads,[33] messages and final reflection. The three parts were recorded for each day of the week so that it was always something new.”[34] The team’s dedication to producing new material meant recordings were scheduled even during vacation periods to avoid reruns.[35]

Fernanda Chacon Bordinhão, a publicist who worked on the program from 2008 to 2013, recalls that recordings during her tenure were completed in one-hour weekly sessions. The presenter recorded all episodes for the week in one sitting.[36] The production team received scripts for the segments, reviewed the texts, and recorded the openings and main messages. [37]

Fabiano Ribeiro da Silva, a journalist and executive producer of TV and radio, and the current producer of Toque de Vida, highlights the program’s "productive and organized routine," always adhering to logistical plans and schedule. [38]     
           

1.3.2 Visual language

 

The development of the program's visual language, according to Bordinhão, was based on closed shots[39] in studio recordings, and in outdoor settings, the use of camera movements and open shots[40]. In some messages, interactivity with other elements was also used. She also adds that in the edition of the program, videoclips of music related to the theme were inserted.[41] Nucci reports that, for editing the program the presenter brought the tape with the recorded materials for the editing work.[42] Nucci, who contributed to the program's early structure, describes how the initial setting was Ulbra Canoas’ chapel, chosen for its beauty.:

In the beginning, due to the beautiful chapel located on Ulbra Canoas, it was decided that it would be the setting for all the programs. Over time we decided to do it in other places of the university to illustrate, when possible, some message themes.[43]

A variety of locations were used to enhance the visual aspect of the program. And in line with the making and formatting of the program from the beginning, Silva notes that thematic, real-life illustrations remain central to the program's format.^[44]

 

1.3.3. Content and target audience

 

The spoken language of the program, developed with Pastor Lucas Albrecht, was intentionally simple and conversational to reach a wide television audience, recalls Bordinhão. “A program that would enter people's homes every day should be easy for the whole family to understand its message.”[45] Nucci notes that the objective was not the intellectual deepening of the Lutheran doctrine, but communication of the basic principles of the religion. “It was made for all types of viewers, with a language that always seeks to insert itself in the context of today's society”, she stresses.[46] Silva underscores that the program's success lies in its clarity and brevity, making it accessible to both Christians and non-Christians alike, always seeking to be clear and objective.[47]

When asked to evaluate factors that were and are considered when editing the program, regarding its objective of communicating a Christian message to the public of Porto Alegre Metro Area, the producers emphasized clarity and objectivity. Nucci observes the importance given also in editing to setting up the program with simple and precise language, “that informs and does not tire the viewer”.[48] This led the team to be careful with the artistic part during the recording, trying different lighting, with beautiful and pleasant angles.[49] Bordinhão points out that another target of the production team was the emphasis on the importance of delivering a message in an informal way, “without a commitment to having words and actions always in the same way” .[50] Further to that, Nucci observes that,

During edition, the process basically was to unite the three parts in which we divided the recording: head, message, and final reflection. It was important to send a clear and direct message, because that was the idea of the program: a touch of life.[51]

For Bordinhão,

One of the main factors that I believed to be important in editing the programs was to convey a message in a more informal way (…). I'm not a Lutheran, but I learned many things editing, participating in the recordings of Services and the daily Toque de Vida, in a more relaxed way, without the obligation to join the religion. Toque de Vida was like that, for the public that wants to do good, receive messages of motivation and pass on a message of life, for people's lives.[52]  

Discussing the continuity of the project in 2015, Silva points out the care and attention to visual aesthetics and audio of the program. He also emphasizes that the production of the program addresses and respects Christian frames, to convey the message both with reflection and emotion, "in addition to clips, which are also shaped by the aspects addressed".[53]

 

1.3.4. Effectiveness of format and language

 

Bordinhão understands that the program achieves its objective by focusing on people open to new information, with faith and with a more contemporary profile. “These are people who set aside a small amount of time each day to receive words of comfort and motivation.”^[54] Silva understands that the effectiveness of the program lies, in large part, in the fact that it addresses real and obvious everyday situations, also including commemorative dates. “The effectiveness [is] in its simple and brief communication”, he points out, indicating that the message reaches both those who are Christians and has the potential to win over those who are not.[55] And Nucci highlights the program’s appeal to a broad audience, with a dynamic format suitable for morning and evening broadcasts. She mentions that it was possible to create an attractive program, easily accessible to the whole family. Being a program shown in the morning and in the evening, reaching different audiences, it needed a fully comprehensive and dynamic format. And she concludes: “I believe that Toque de Vida was able to connect to all types of viewers.”[56]

When asked about their experiences, the producers—none of whom were Lutheran—reflected on the program’s impact in response to the question: “What caught your attention the most in the messages during the period in which you worked on the production of the Toque de Vida program?” Silva Silva emphasized the program's diversity and creativity.[57] Bordinhão hared that, although she is not Lutheran, she learned a great deal through her involvement in the daily Toque de Vida and Toque de Vida Services[58] on Sundays, as well as in her relationship with other participants. For the publicist, the distinctiveness of Toque de Vida lies in its format, which engages directly with the public. “The language is different—direct, easier to understand—without the obligation to tie it to religion, and, most importantly, it is relevant to everyday situations and people's lives.”[59] Nucci found that “the most interesting thing is that the messages always resonate with everyone in some way. They address everyday situations in a simple and clear manner.” She believes that the name of the program, Toque de Vida, clearly reflects its content, which meets the expectations of its viewers.[60]

In her additional comments, Nucci expressed her satisfaction with having participated in the program’s history, stating, “It was very gratifying to work on the Toque de Vida program with Pastor Lucas. It was years of learning through his messages and explanations.[61]

From the analysis and feedback of the producers, we can draw some conclusions for the creation and execution of a Lutheran television program: brief messages, especially in a format that aims to speak to everyone while being accessible even to non-Lutheran viewers. Key insights include: clear and objective language that resonates with viewers' lives, the use of everyday illustrations, informal language, attention to audio and video quality, and skilled editing to add dynamism to the program.

1.3.5. Lutheran Worship on TV

 

In 2008, Toque de Vida led a significant communication breakthrough for IELB. Following the first radio broadcast of a Lutheran service in 1929 by Dr. Rodolpho Hasse, the first full Lutheran service was broadcast live on TV, covering the entire area served by Ulbra TV. This milestone occurred during IELB's 104th anniversary service on June 22nd.[62] The service was led by the pastors of the then Comunidade Evangélica Luterana São Paulo (CELSP), which at that time sponsored ULBRA, and was later replaced in 2014 by the Associação Educacional Luterana do Brasil (Aelbra).[63] The unprecedented initiative also marked the beginning of regular Sunday broadcasts of recorded services from the chapel of Ulbra, incorporated into the Toque de Vida program. In a celebration that featured the institution's Orchestra and Sacred Choir, Pastor Lucas Albrecht emphasized that the Lutheran Church still had much to learn about television.[64] It was also mentioned that the format and liturgy of the service did not change due to the TV broadcast.[65] The services, recorded in Comunidade São Paulo, and later sermons from the Toque de Vida Services continue to be aired in 2015.[66]

1.3.6. Format and periodicity in 2015

 

In 2015 the program Toque de Vida airs on ULBRA TV from Monday to Friday at 7:15 am. On Saturdays, at 8:00am and 12:20pm. And on Sundays, at 8:00am, alternating between “The Christian Lutheran Worship” and “Toque de Vida Varieties”.[67] The daily program is eight minutes long and the presentation is given by Pastor Lucas Albrecht [68], 39 years old, journalist, Head-chaplain of Ulbra.[69]

The Toque de Vida program on ULBRA TV started in 2004 has had developments in new platforms. In January 2006 the blog “Toque de Vida” was launched.[70] Later Toque de Vida via e-mail was launched in the same year, with messages written 3 to 5 times a week,[71] sent to subscribers.[72] In 2008 the book “Toque de Vida” came to the market,[73] which had its official launch at the 2008 Porto Alegre Book Fair.[74] In 2011, the Toque de Vida page was created on the social network Facebook .[75]  In September 2013, Toque de Vida went on to the Radio, a daily version on Rádio Mix FM, owned by Ulbra. It was the “Minuto Toque de Vida”(The Toque de Vida Minute), airing at 6:55am and 6:40pm.[76] As another development of the missionary project, the “Touch of Life Services” began in 2014, held on Saturday evenings, 7:30pm at Colégio Ulbra Cristo Redentor, in Canoas.[77] Another product was launched in 2015, the Touch of Life Minute for Ulbra TV.[78] All the connected products are running on a regular basis to the date of this paper.

1.3.7. Numbers 2004-2015

 

In over 10 and a half years of existence, from November 2004 to June 2015, the Toque de Vida Project records the following numbers:

Toque de Vida Program, ULBRA TV: The program was aired for the first time on November 26, 2004. There are no records in the pastoral files of the number of recordings and programs of the debut year. During the following year, 2005, the Pastoral's records are not very precise, but they make it possible to identify about 80 recorded messages, some of them delivered by guest pastors.[79] During 2006, even without a more precise organization of dates and message titles, around 170 recorded messages can be reckoned with a few more messages made by guests.[80]

From 2007 onwards, the archive of the Campus Ministry’s retrancas has more precise information allowing a better visualization of the recorded and reruns. For that year, there were 224 programs recorded by the presenter and 45 programs recorded by guests. Still in 2007 a variety program is launched, the Sunday program called “Touch de Interview” with 16 editions. Among those interviewed were Seminary professor, Ulbra Professors, local Pastors, a student, an American pastor, and representatives from Celsp. The other dates showed reruns in a total of 80. Among the message recording locations, in addition to the chapel, are the Martin Luther Library, the Football Stadium, the Dental School building, streets, parking lots and inside a moving car.[81]

The year 2008 was one of the seasons of most intense activity for the program. It is possible to identify the following: 223 programs recorded by Pr. Lucas, 11 interviews/special programs on Saturday/Sunday, 38 messages from guest pastors. There were also aired 25 Sunday services, whose recording and exhibition began on that this year,[82] and a rerun. Also, 68 reruns of daily programs. Among the illustrations and locations used for the daily programs are a clipboard, scaffolding, chapel, piano, hanger, train, ladder, car, battery, lake, tree (climbing), museum, pipe organ, air conditioner, University Hospital, Bible Fair, classroom, chimarrão, camcorder and war tank.[83]

The year 2009 presents the following records: 204 messages from Pastor Lucas, 41 messages from guest pastors, and reruns on the other dates. There were 41 services aired on Sundays, including the IELB’s 105th Anniversary Service and the ULBRA’s Anniversary Service, in addition to the Celsp’s Anniversary Service. It is not possible to determine, however, how many of them are new and how many are reruns. This year, the special story “Um Toque de Natal”(A Touch of Christmas) was recorded, produced and directed by Ulbra TV's production team. It had the special participation of Pastor Lucas[84], and among others the University Chapel was also a location.[85] Among the illustrations used on this year are: photos from the web, chess piece, pen drive, knife, tractor noise, lamp, balloon, cold, cell phone, keychain, orthodontic device, coffee, chair, pen, key, fountain, terminal bus, alcohol gel, rails, sticks, elevator and matches.[86]

In 2010, Pastor Lucas recorded 180 new messages. The guest pastors had 46 participations, some of which were recorded at the IELB National Convention in Foz do Iguaçu, PR. 33 services were aired on Sundays and there were about 100 reruns. Among the illustrations are a screen, a coffee cup, a parking lot, a data show, a fire extinguisher, a card machine, electronic scrap, air conditioning, a chimarrão bowl, a rear-view mirror, a dental appliance, an orange leaf, rain, a cell phone, haircut, cars, aspirin, coffee powder, book, glasses, cell phone charger, ruler, monitor, framing, weight, hospital.[87]

In 2011 there were 157 messages from Pastor Lucas and 74 from guest pastors. 33 services were shown on Sunday and there were Easter and Christmas Special Programs. The reruns totaled 101. From the illustrations we find accordion, altar, works on campus, white cloth, candles and chandelier, air conditioning and a self-interview, where Pastor Lucas recorded the part of interviewer and interviewee, with a week of difference.[88]

In 2012, the numbers indicate 129 messages from Pastor Lucas, 97 from guest pastors and the exhibition of 25 services on Sundays, with a total of 114 reruns. Among the illustrations: piano, chapel, baptismal font, medicine, notepad, blood pressure measuring device, microphone, library, crumpled paper, credit card, Facebook.[89]

In 2013, there were 90 messages from Pastor Lucas and 127 messages from guest pastors. On Sundays, 17 services were exhibited. A special program was recorded for Sundays detailing the Lutheran Liturgy part by part.[90] This year was the debut of Toque de Vida Varieties, with programs of debate and special messages. The topics covered on the Varieties program were: How a Lutheran congregation works, Pentecost, Interview with the IELB National Board, Church and State, 4^th International Luther Symposium, University Chaplaincy, Concordia Seminary, Lutheran Bible School, School Chaplaincy, Hospital Chaplaincy, Biblical Society of Brazil and Advent and Christmas. The reruns totaled 119 editions.[91]

In 2014, reruns greatly surpassed unpublished messages. 58 messages from pastor Lucas and 29 from guest pastors are recorded, with 270 reruns throughout the year. On Sundays, when there was no rerun, recorded messages were shown in the Toque de Vida services, in addition to the DVD of “the Worship Leader” Project.[92]

As of June 30, 2015, the records of the program are: 38 messages from Pastor Lucas and 139 reruns. On Sundays, mainly reruns, except for three messages from the Toque de Vida Services and the documentary “Forte em Santa União”.[93]

In summary, considering the unpublished daily messages (the focus of this work), the total indicates at least 1550 messages produced by Pastor Lucas and approximately 500 by guest pastors.

Webblog Toque de Vida: Started on January 20, 2006, [94]the pastoral electronic diary recorded 336 posts in 2006, 449 in 2007, 605 in 2008, 457 in 2009, 348 in 2010, 327 in 2011, 196 in 2012, 142 in 2013 and 75 posts in 2014, In 2015, there are 10 posts until April, in a total of 2945 posts in the period.[95]

Touch of Life by e-mail: Started on September 21, 2006, sending short messages by e-mail, it reached the following numbers: 56 messages in 2006, 204 messages in 2007, 211 messages in 2008, 149 messages in 2009, 117 messages in 2010, 89 messages in 2011, 67 messages in 2012, 60 messages in 2013 and 53 messages in 2014. In 2015, 12 emails were sent until the month of April. In total, 1018 emails with message, closing phrase and, on some occasions, information, news, comments and promotions.[96]

Toque de Vida by email, English: On May 17, 2008, the English version of Toque de Vida, “Touch of Life” was started. In the beginning, written and edited by Pastor Lucas. As of July 18, of the same year, the text was revised and edited by Deaconess Kim Starr, from St. Louis, Missouri, USA. Most messages are translations of Toques de Vida in Portuguese. The numbers indicate 35 messages sent in 2008, 28 in 2009, 21 messages in 2010, 19 messages in 2011, 12 in 2012, 6 in 2013 and 9 in 2014, in a total of 130 emails. In 2015, until the month of June, the sending of messages had not yet resumed.[97]

Toque de Vida by email, Spanish: On June 6, 2008, The Spanish Toque de Vida was launched. Most messages are translations of Toques de Vida in Portuguese. Until 2010, they were made by Rev. André Luiz Müller. In 2011 and 2012, by the (then) Brazilian missionary in the Dominican Republic, Rev. Walter T. Ries Jr. The numbers of Toque de Vida in Spanish are 26 messages sent in 2008, 16 in 2009, 5 messages in 2010, 7 messages in 2011 and 6 messages in 2012. Since then, the sending was suspended and, in 2015, until the month of June, messaging had not yet resumed.[98]

Minuto Toque de Vida, Mix FM: Started on September 20, 2013 as a program of approximately 90 seconds, it has the following numbers: 102 unpublished programs in 2013, 65 conducted by Pastor Lucas and 37 by Rev. Angelo Elicker; in 2014, a total of 365 messages, 47 were recorded by Pastor Ângelo, 189 by Pastor Lucas and 129 were reruns. Until April 30, the 2015 recordings totaled 24 programs, while the reruns, 96 editions.[99]

Toque de Vida page on Facebook: Started on June 29, 2011, the page had, in April 2015, 705 likes. The space is essentially used to publish the messages written in the Toque de Vida by email and the messages in a reduced version, used in the Minuto Toque de Vida of Mix FM.[100]

Touch of Life Services: An ULBRA Campus Ministry Project started on May 10^th, 2014. It consists of Christian Lutheran Confessional Services held on Saturday evenings at ULBRA Cristo Redentor Elementary and High School. On its Facebook page the Services are described as: “a community of people coming together for a moment of contemporary Christian music, both vibrant and reflective, prayer and biblical teaching applied to practice.” In July 2015, the page, which was essentially used to publicize the themes of services and programs, had 298 likes.[101]

Minuto Toque de Vida, Ulbra TV: Started in the first half of 2015 as a program of approximately 90 seconds, to be broadcast during breaks on Ulbra TV. Until June 2015, it had 16 finished programs.[102]

2.    LUTHERAN PREACHING: PRODUCTION, FORM AND CONTENT

In order to study the production of messages of the Toque de Vida program, it is essential to identify the elements that make up the form and content of Lutheran preaching. To this end, we will draw upon the work completed by this author in the conclusion of his bachelor's degree in journalism, specifically the research titled "The Lutheran Sermon in the Receiver's Perspective," conducted in collaboration with Professor Dr. Jamile Dalpiaz..[103]

The majority of definitions of Lutheran preaching focus on the locus of face-to-face preaching, particularly within the context of community worship. Since Brazilian Lutheran homiletics does not yet have a specific field dedicated to preaching within the television environment, it is necessary to draw upon the concepts and principles of face-to-face preaching as the primary foundation for defining television preaching.

From the Great Commission of Christ [104]and, especially, from the event on the Feast of Pentecost [105], Christians have confirmed the certainty that the role of the Christian Church in the world is, primarily, to announce the Gospel of Jesus Christ. The apostles claim that they cannot help but speak of what they have seen and heard. [106]Paul states that faith comes by preaching the Word. Therefore, it is necessary to have someone who preaches it. [107]Throughout his epistles, he points several times to the office of preaching and its importance for the Christian Church. [108]In this way, over the centuries, the communication of the Gospel, usually called preaching, in the Christian Church was consolidated as an indispensable condition for its existence and maintenance.

Since the beginning of the Protestant Reformation, preaching has been one of the primary duties of a pastor. Proclaiming the Gospel from the pulpit was the most common method of teaching doctrine. Even the functions of pastoral work were redefined, seeking to create more space for preaching.^[109] However, himself never clearly defined the precise form a Lutheran sermon should take. He quickly moved away from the formal and thematic structure of medieval preaching, instead developing his own style, with sermons focused on biblical exposition.^[110]  

Learning to prepare sermons takes place in the academic discipline known as Homiletics, which is concerned with Christian preaching and, in a particular way, with the sermon within worship. ^[111]The task of Homiletics is not just to deal with theoretical principles, but includes practical training. The sermon is distinguished from preaching in the broadest sense by the fact that it is one of the liturgical parts of community worship.^[112] David Schmitt, analyzing the way pastors talk to each other about preaching, observes that they tend to isolate one or another aspect pertinent to message building:

Some say that the sermon is simply "bringing people back to the text." Others talk about preaching in the context of new Christians and how the sermon should be more about teaching, more like a Bible Study. Others hold firmly to the line of evangelical proclamation and say that when the preacher steps into the pulpit he must simply "afflict the comfortable and comfort the afflicted," or "kill the people with the law and raise them with the gospel." Still others talk about the importance of using contemporary life stories and how storytelling is a way of relating to people.[113]

Schmitt concludes that, when listening to these perspectives, one hears different voices, but without a broader and more complete vision. Each pastor has a piece of the tapestry, but none can see the whole picture.[114] Therefore, seeking a global vision—or at least defining a framework to guide preaching—helps achieve a fuller understanding of the preacher's task.

CFW Walther, a Lutheran theologian of the 19th century, one of the founders of the Missouri Synod (the North American denomination from which the IELB originated), is the author of one of the reference works of this discipline at the Concordia Seminary, entitled Law and Gospel, republished in Portuguese in 1998. The book presents 27 theses on Law and Gospel, emphasizing that the theologian must, for accuracy, be able to distinguish between what is law and what is gospel. However, Walther acknowledges that this task is not easy. He quotes Martin Luther, who expressed the complexity of this distinction by saying he would gladly confer the title of doctor to anyone who could do it properly. ^[115] Paulo P. Weirich also notes that this tension is never fully resolved, citing Walther's third thesis, which states that the greatest task of Christians in general—and of theologians in particular—is to correctly establish this distinction. Walther adds, “This art is taught exclusively by the Holy Spirit, in the school of experience

Despite this difficulty, Walther attempts to clarify the difference in his 27 theses. The law shows what the Christian should do but cannot do; the gospel reveals only what God is doing. The law addresses human works; the gospel speaks of the works of God. The law confronts humans with what they should have done or failed to do; the gospel presents only the promises of God. The law has the threefold effect of telling people what to do, revealing their sins, and bringing them to contrition. Based on this understanding, Walther warns of the danger of confusing the two concepts. For the theologian, then, the starting point of Lutheran preaching is to announce both the law and the gospel to listeners—distinct, yet complementary in the message, without dissolving the tension between them. In this regard, Jagnow argues that the Lutheran sermon proclaims God's judgment on humanity, aiming to point to the opportunity for salvation and sanctified living. "For this reason, Law and Gospel need to be present side by side in every sermon.[116]

Another key author in Lutheran Homiletics is Richard Caemmerer, who asserts that the pastor's task is to announce a message that is not their own, but God's. The content of preaching is to tell the story of Jesus Christ, the Messiah who came to save His people, as God had already foretold in the Old Testament. Therefore, the content of a Lutheran sermon must address:

1. Jesus is the Messiah promised by God;     
2. He died, but is risen, lives and rules Christians;      
3. His followers proclaim to the world and to one another the story of his death and resurrection;
4. This message has the power to change and transform listeners;           
5. The message has power because it speaks of forgiveness of sins, which is the purpose of Jesus Christ's death and resurrection.^[117]

 

Caemmerer largely presents what Richard Eislinger identifies as deductive methodology. This approach derives its name from its internal logic and progression. It begins with a general truth and seeks to apply it to specific situations or circumstances. Eislinger demonstrates that this method is long-established, both in its form and exegesis, and follows a recognizable structure:

The theme of the sermon is stated and divided into its constituent "points"; these subthemes are then expanded upon, illustrated, and applied to some particular life situation. This approach is immediately familiar and expresses the mainstream of traditional preaching.[118]  

The focus of the Lutheran sermon on the person of Jesus Christ was central to Martin Luther's thought. David Lotz shows that, for the Protestant Reformer, preaching the Word of God is not simply talking about Jesus Christ as the object; it is also about recognizing Him as the active subject of proclamation. Luther makes it clear that "the preaching of the gospel is nothing else than Christ coming to us, or us being brought to Him." He emphasizes that, for Luther, the hearts of listeners will not find true satisfaction and consolation unless they hear, in preaching, the correct announcement of Jesus Christ.^[119]

Caemmerer also emphasizes that each sermon should have a singular objective. The pastor’s aim is to persuade the listener, and attempting to achieve multiple goals in one sermon dilutes the effectiveness of this endeavor. Nonetheless, every sermon should consistently fulfill this overarching mission: to present God's plan to the listener, to communicate God's judgment for failing to follow this plan (the law), and to proclaim God's grace (the gospel). Regarding the listener, Caemmerer underscores the preacher's dual commitment: to faithfully teach the Bible and to help the listener understand the Word. As such, Caemmerer remains a foundational authority on the formal structure (theme and parts) and composition of sermons for Lutheran pastors.^[120]

Schmitt, looking for an overview of the tapestry of preaching, understands that the Lutheran sermon has four discourses: 1) Textual exposition – It communicates the original meaning of the text in its historical context; 2) Theological Confession – where confessions of the teachings of the faith are presented; 3) Gospel Proclamation – something that distinguishes the Lutheran sermon. Properly announce Law and Gospel, with predominance of the Gospel; 4) Listener Interpretation – what the listener says in the sermon. The receiver's view.[121]

According to Rich Gurgel, there should be little doubt about the number one priority when it comes to Lutheran preaching: it must be Christocentric.[122] For Jagnow, biblical preaching is “a communication event that aims to help people hear the eternal and unchanging Word of God in their changing everyday situations.” [123]It is a piece of communication that aims to reach the real needs of real people.[124]

In this way, it can be inferred that the Lutheran sermon must include the following elements: Christocentrism, law and gospel, a focus on the person and work of Jesus Christ, a single, clear objective, careful attention to the pericope (biblical text), theological teaching in line with the Church's doctrine, and an adaptation to the context and reality of the audience.

 

2.1.          Preaching and Television

 

Luiz Carlos Ramos, in his article “Homiletic Persuasion in the Media Age”, analyzes homiletic practice in its interrelationship with the phenomenon of mass media, particularly television. He says:

Our opinion is that if, on the one hand, television programming found strong inspiration in religious homiletics, currently the experience of preaching in churches seeks in the media its modus operandi (method), its modus faciendi ( technique ) and your own modus vivendi (lifestyle).[125]

For Ramos, religion and media mutually inspire each other, both in terms of form and content. He argues that, especially with television, the content must be simplistic and easy to assimilate by viewers. It should also be superficial, emotional, and narcissistic, among other qualities. The influence between religion and media is reciprocal, with the homiletic principles that guide religious practice being reflected in the communicative approach of secular media. Just as "the more visual, the greater the chance of certain content being broadcast by the television medium," it becomes clear that form and content are inseparable in this context.[126]

Thus, according to Ramos, when religion uses this channel of communication,

she has no choice but to surrender to the demands of the environment. Its message necessarily becomes merchandise, and the experience of God, or of faith, is placed side by side with other products on the market. There is, currently, a millionaire and competitive industry that strives to meet an unprecedented demand, and that heats up the religious goods market.[127]

Ramos' article, drawing on authors such as Barthes and Gabler, aligns with recurring critiques of media, particularly the concepts of the “society of the spectacle” and the “republic of entertainment,” which emerged in the 20th century. However, in A Social History of the Media, Briggs and Burke argue that the idea of the social spectacle—public rituals, for instance—can be traced back at least as far as the 17th century. As they note, the term “spectacle,” widely used in the 17th century, was revived in the 20th century. While television has distinct characteristics, it does not appear to be a pioneer in its appeal to emotion or its tendency toward massification. The assertion that “the spectacle has become the world,” from The Society of the Spectacle (1967), must be contrasted with the comment by American television writer Richard Adler: “The small screen seriously limits the effectiveness of the spectacle”.[128]

Another point highlighted by Burke and Briggs is that while most of the criticisms directed at television in the 1960s and 1970s are now outdated, "some seem curiously persistent." Television continues to be criticized as an agent of reduction and trivialization of issues and news, and as a negative force that distorts content and facts. However, by the 1980s, McLuhan was being cited far less frequently than in the previous two decades. Debates then shifted, especially toward addressing the role of the family. Many argued that children needed protection from television, but there was little consensus on how this should be achieved. ^[129] Therefore, while television faced intense criticism, particularly between the 1960s and 1980s, it has more recently been viewed with less prejudice, and even from positive perspectives, such as its use as a vehicle for information and education.

For Robert Rosin, there are many types of communication vehicles - media - and the role of Christians, especially communicators, is to learn what they do and how they affect the message. And recommends:

Use them as best you can to contact those God wants to be his again. Be sober and then, from whatever direction you come with the message, conveyed by the media of the moment, go towards the cross.[130]

 

2.2.          Reception in preaching

 

Despite not being the primary focus of this work, we dedicate a few lines to the study of the receiver, both from the perspective of communication and from the standpoint of Lutheran theology and homiletics.

In the field of communication, drawing on the work of Nilda Jacks and Ana Carolina Escosteguy, we apply the theoretical-methodological framework of reception analysis, which views the receiver as an active participant. The media message is a cultural form that can be analyzed and interpreted in ways that may differ from the original intention, as the audience is made up of individuals who produce meaning. Therefore, reception analysis compares the media content with the audience's interpretation, contrasting the structure of the content with the audience's response to it. This distinguishes reception analysis from uses and gratifications theory, which focuses more on how individuals use media. Reception analysis, by contrast, places greater emphasis on the message itself, often relying on qualitative and interpretive methods.^[131]

Stuart Hall, when addressing reception studies, describes the audience as composed of people who do not receive the message passively, but actively and even producing meaning. Which also leads to a comparison between audience and media discourses. ^[132] Escosteguy notes that, in Latin America, reception studies—initially influenced by Martín-Barbero—began to view the receiver as a subject who actively gives new meaning to what they receive. This perspective, emerging in the late 1980s, acknowledges a complex process where negotiations and even resistance to the media’s proposals are part of the audience’s engagement.^[133]

To understand how a specific audience interprets a media message, methods such as interviews and participatory observation are employed. The evidence gathered is then compared with the structure of the media content. However, as the authors point out, it is important to note that this method does not lend itself to broad generalizations, as it “works with representative samples of the population.”^[134]

Justin Rossow, analyzing Hogan and Reid’s concept of “Practical Postmodernism” in preaching, highlights that this approach prioritizes the listener's experience during the event, in contrast to the kerygmatic approach, which focuses on the salvific encounter. According to Rossow, “Meaning is no longer located in a proposition or in an encounter with the redemptive presence of God. Rather, meaning is the work of the hearers as the sermon is interpreted.”[135]

The listener is considered an important part and the target of this process in theology, as the Bible states in Romans 10:17: "faith comes by hearing." For someone to hear and receive the message, someone must preach it to them. However, the listener, as an active participant in the process who gives meaning to the content, is a point of tension in Lutheran theology. Vilson Scholz, when discussing postmodernity, addresses the critique of reader response/reception theory. In contrast to modernity, which centered on the author and objectivity, the postmodern era places the reader and subjectivity at the forefront, which can create tension in Theology:

Before you start wanting to hate the criticism of the reader's response, it is good to remember the positive aspects that result from this approach. More than ever, it is clear that no interpreter is tabula rasa. Strictly speaking, he already has a text or texts in his memory (in computer language one could say that the "environment" or the "program" pre-exists working with different texts or files). This environment or text determines how new texts will be read. In practice, one only hears what the mind is prepared to hear.^[136]             

Ely Prieto emphasizes the importance of understanding the audience when applying teaching. In his text “Communication Skills for Postmodern Times,” he discusses a series of challenges that preachers face when addressing audiences in a postmodern context. He highlights shifts in the concept of relevance, the rise of consumerist mentalities, the need for experiences rather than just passive listening, the decline of commitment, the desire for active participation, tribal individualism, immediacy, and the relativization of the concept of “truth.” [137] Regarding the latter, Prieto points out:

Postmodernists have their own stories, their own truth. As preachers, we have to confront them with the metanarrative of Scripture. Through the narrative story of the Gospel, the Holy Spirit can make history their story. Bible truth, their truth.^[138]          

What is evident in the analysis of traditional Lutheran homiletics is the fact that the focus is on understanding the listener in terms of sermon preparation, with a greater emphasis on production and delivery. However, when it comes to reception analysis, a certain tension arises.

Nelson Kirst, for example, observes the sermon from the perspective of communication processes and highlights the expectations of the audience. According to him, listeners often have well-formed ideas about what should or should not be preached and typically expect the pastor to affirm their existing convictions. If this expectation is unmet, the preacher may be perceived as ineffective, which disrupts communication. On the other hand, the preacher cannot simply affirm what the listeners expect, as this would prevent the congregation from growing beyond their current understanding. This results in a loss of critical engagement, leaving the listeners in a state of complacency. Therefore, the preacher must convey their intentions while considering, to the extent possible, the listeners' expectations.[139] Caemmerer would say that

Every stage of preaching preparation, as well as preaching itself, requires the preacher to be equally concerned about the Word of God and the people to come .[140]

This perspective contrasts with that of David Luecke, who examines the relationship between sermons and communication. Drawing on research conducted with pastors from the two largest Lutheran churches in the United States regarding listeners' behavior toward Lutheran sermons, he states:

The hypothesis of the study carried out is that the commitment to more effective communication can lead to a departure from the Lutheran norm of approach in preaching and worship, due to the fact that it places greater emphasis on the needs and interests of listeners and participants.^[141]

 

This contrast is even more pronounced in the work of Robert Schaibley. The American theologian highlights, already in the title of his article, that "Lutheran preaching is proclamation, not communication." The pastor holds a God-given office, and as such, he delivers a one-sided announcement of biblical truth in the sermon, which must either be accepted or rejected by the listener. Preaching requires the presence of the listener, but not necessarily their active cooperation. Even if the hearer denies what they have heard, the proclamation has still occurred as long as the Word of God has been delivered. In his article, the author focuses on production and emission as the key factors that determine the effectiveness of communication in the sermon.[142]

Returning to Rossow, in his thesis on the use of metaphors in preaching, he advocates for a balanced approach between the meaning intended by the sender and the meaning produced by the receiver. From a linguistic perspective, he observes that extremes in approaching human communication can be misleading—both the objectivist view, which may downplay the role of the interpreter in the production of meaning, and the subjectivist view, which may overlook cultural, contextual, and even textual constraints. And it indicates:

To preach metaphors somewhere between these two extremes means to be concerned as much with the interpretive work of the listener as with the ways in which the text, the preacher, and the wider culture guide and constrain the interpretive task. Linguistically, metaphors in the biblical text and in the sermon participate in the complexity of human communication .[143]

From the Theological standpoint, it is clear that the Word of God is communicated through human words. Therefore, context, culture, and subjective experiences inevitably influence how individuals understand texts and sermons. However, the human nature of these words does not diminish their divine character. Despite variations in language and interpretation, they remain the means of God's grace. As stated, “The words of the biblical text are human words all along; yet they are also the Word of God.”[144]

Thus, Rossow defines the sermon and its text as both part of a human communication process and also a means of grace. Linguistically, it is neither a purely objective transfer of meaning nor a purely subjective action without guidance.^[145] In short, he advocates meaning as situated midway between emission and reception.

At the conclusion of the study “The Lutheran Sermon in the Receiver’s View”, the research findings revealed that listeners can identify the key elements of the Lutheran sermon, including its theme and the objective of the message. However, they interpret and reframe this content through the lens of their personal context, sometimes amplifying or distancing themselves from the original intent. The analysis, aligned with Reception Studies, shows that the receiver is not merely passive but also an active producer of meaning. While they identify a preferred meaning in the sermon, they also reinterpret it, potentially losing some of the content in the process of reception.[146] Another piece of evidence provided by the study was the confirmation that listeners typically have prior trust in the institution, the pastor, and the medium used to convey the message. This trust results in less resistance to the logic of the means of communication, allowing the message to be received more openly.[147]

3.    PREACHING FOR EVERYONE AND FOR NOBODY. Analysis of the construction of the message from interviews with presenters of the Toque de Vida program

 

For the third chapter of this dissertation, I gathered the testimony of IELB pastors who have worked, or are currently working, on the creation of messages for the Toque de Vida program. These communicators of the Word have faced and continue to face the challenges of preaching to all—since the television audience they target can be as vast as possible—and yet, to no one—since the message is recorded in front of a camera. The pastors who shared their experiences are:

Rev. Ângelo Naor Elicker – 10 years of ministry. Rev. Angelo contributed to the program between 2008-2014.[148] He reporst in the period:

1 weekly program for daily TdV on TV         
9 services per year (on average) on Sunday TdV          .
1 monthly program (on average) as a presenter or as an interviewee on TdV Sunday in 2013 .
1 weekly TdV program on PopRock from 2010 to 2012            
15 monthly Minuto TdV programs on Rádio Mix in 2013 and early 2014.[149]

Rev. Gerhard Grasel – 46 years of pastoral ministry. He mentions that he did not make the exact accounting but he believes that he collaborated in a period of two to three years with the program.[150]

Rev. Herivelton Regiani –16 years of pastoral ministry. He contributed to Toque de Vida in the period of two years on a weekly basis.[151]

Rev. Lucas Albrecht – The Author of this work, active in ministry for 16 years. He has been active in Toque de Vida since its inception, in 2004, on a daily and weekly basis.[152]

Rev. Marcos Schmidt – In the active ministry since 1983, he recorded a specific number of programs in the 2006 season.^[153]

Rev. Paulo Cesar Fernandes Brum – Serving in ministry for 17 years he collaborated with Toque de Vida from 2005 to 2012, on a monthly basis.[154]

Rev. Tiago José Albrecht – 6 years of ministry. He describes that he collaborated with Toque de Vida in the second half of 2014/02.[155]

Rev. Walter Trescher Ries Jr – 10 years in the active ministry. He collaborated with Toque de Vida for one year, once a month.[156]

The questionnaire, which can be found in Annex One, focused on various aspects of each presenter's personal approach to constructing their messages. It aimed to gather insights into how these messages were created and refined. Additionally, it sought to explore the communicators' perspectives on the audience they intended to reach when producing their content. 

3.1.          Recording routine

 

The pastors reported their various experiences in the program's recording routines. Regiani points out that, “following the format already proposed he made an appointment with the sector responsible for the recordings at Ulbra, through the Campus Ministries Office, and recorded about three to four messages at a time”. He adds that the Ulbra’s Campus Chapel was the most used location, but sometimes he would go to other locations on campus or “Cristo Redentor” School.[157] Elicker points out that, in the technical aspect, “after wearing the microphone, carrying out the necessary tests, and finding a good scenario, we started recording.”[158] Tiago reports that the recording took place in the university chapel. With the presence of the cameraman, programs were recorded in sequence.[159] Lucas describes the theme research and the preparation of the topics. In some cases he would record enough messages for up to two weeks. With the time previously scheduled with Ulbra’s Audiovisual Production Center he waited for the cameraman to arrive at the chapel for recording, which took normally “a period of 1 to 2 and a half hours.”[160] Ries points out how, once on the Canoas campus and having the message prepared, his routine was to choose the recording location and wait for the cameraman to arrive. He also highlights the need to choose different shirts when recording more than one program at a time.[161] Schmidt notes that his recording routine was made easier by the technical help of the recording crew. As the texts of the messages were ready the recordings took place.[162]

Focusing on the content of the message Grasel reports that he returned to themes or subjects that were in his memory and let these texts bring these themes back to mind. “I tried to bring them to a new reality because time was limited. It was another way of reaching people”.^[163] Elicker reports that after scheduling the recording he tried not to read from sheets of paper as much as possible, arriving for the recordings with the messages already well engraved in his mind. “At most, I would read the Bible when quoting some text or some object for illustration.”^[164] Brum highlights his research of topics and also the exchange of ideas with the program's producer, seeking to specify the communication approach according to the public. He also points out “the elaboration of the written messages and then the recording. Usually, I did two to three at a time so the direction of the program could have them ahead of time.”[165]         

3.2.          Spoken Language

 

ts spoken message. As we observed in the theoretical framework, there are foundational elements in a Lutheran message, particularly: Christocentrism, Law and Gospel, and focusing on the person and work of Jesus Christ, with a singular objective that takes into account the biblical text (pericope), the context of the listener, and the theological teaching of the Church. However, as noted, homiletic literature primarily addresses preaching in written and/or face-to-face contexts, offering few clear guidelines on possible adaptations and needs for the television environment. The experiences shared by the eight participants of the Toque de Vida program can provide valuable insights to enrich both the content and production of televised Lutheran preaching

The research suggests that a unique environment for Lutheran communication through spoken messages on television can be identified. While still strongly influenced by traditional homiletic principles aimed at face-to-face preaching, it also presents distinct characteristics.

Brum, for example, emphasizes an objective and informal language, seeking proximity/empathy with viewers, seeking a Christian application to everyday life.[166] Elicker reinforces this notion by pointing out the search for an accessible, easy-to-understand language, “as if it were a chat with someone at your side. Figures of speech and illustrations were often used to didactically better explain a topic.”[167] In the same vein Schmidt demonstrates concern with a “simple language so as not to complicate communication.” He also adds the search for an imaginary profile of the viewer, “so that theological terms in the preaching of the Word of God do not cause strangeness in people’s ears.”[168] Ries Jr. cites the use of commonly understood language, “not too churchy”. He also comments on the use of biblical stories with application to people's lives.[169] Speaking about form Lucas adds that over time he also tried to work with language from a journalistic point of view, “avoiding unnecessary repetition, excessive buzzwords and commonplaces, and also ‘crutches’ in speech.”[170] The theme of simplicity is also in Tiago when he reports seeking the simplest possible language, trying to connect with people's daily lives, as if they were "modern parables".[171] The effort is also mentioned by Regiani. In addition to using the simplest possible language, he avoided using theological jargon, “also targeting the public unfamiliar with the Bible and Christian theology.” Using a story, event or issue on the agenda in society, or even everyday situations, he sought to lead the reflection to the Gospel itself.[172] As one of the creators of the program, Lucas highlights, firstly, the base of illustration and application: almost all recorded messages follow the idea of using a biblical illustration, everyday life, historical facts, objects, and others, to then make a connection with the Word of God, both in the aspect of justification and sanctification. He also points out the search for a language as clear and precise as possible.[173]

This agrees with Jagnow when he states that quality in the message also involves the use of illustrations, which is one of the most common creative resources in preaching.[174] Justin Rossow, citing Hughes and Kysard, observes that the predominant use of illustrations and metaphors is not just at the edges, but also right at the center of Christian theology and discourse.

The Gospel itself may be proclaimed in terms of birth, life, salvation, light, food, ransom, redemption, inheritance, reconciliation, marriage, atonement, cleansing, salvation, deliverance, victory, payment of debt, or a verdict of not guilty, to name a few. just a few.[175]

Jagnow also notes that the preacher’s greatest challenge is perhaps to apply the truths of God to the daily lives of his listeners, “taking into account their present spiritual needs and the eternal destiny of men and women, children, youth, and adults, both literate and illiterate, rich and poor.”[176] The simple and objective language, along with the use of illustrations as emphasized by the interviewees, aligns with the creativity needed to construct a succinct message for television.

The relationship with everyday life and the goal of connecting with people's lives are also central concerns for Robert Kolb. Describing the beginning of the conversation between Christians and those who have not yet embraced the Christian faith, he notes that “the initial agenda of this dialogue is set by life experiences that have posed questions that need answering.”[177] Later, Kolb points out:

These questions and answers, of course, do not conclude Christian witness. They don't even simplify it. Rather, they lay the groundwork for effective application of God's messages to those who were not listening.[178]

 

Another important aspect that emerges from the answers can be connected to the theory of Relevance, proposed by Dan Sperber and Deirdre Wilson. For them, the fundamental premise is that we rarely say exactly what we want to communicate. On some occasions, we can be more succinct, using fewer words, and still make ourselves understood.[179] Thus, the authors highlight the importance not only of the linguistic code but also of the context in which speakers and listeners interact, as both serve as vehicles of meaning. This suggests that we can be relevant even without using all the words that, supposedly, would be necessary to make sense, as long as we use the linguistic code effectively and ensure the appropriate context so that viewers grasp the intended message. Pattermore notes:

Context, in Relevance Theory, is a cognitive concept – a set of propositions that we consider to be true, or likely to be true. The summary of all these ideas is our cognitive environment. By evoking a context, the speaker both compels and constrains the listener towards a specific interpretation .[180]

The presenters' perceptions of the question regarding the most used message structure also highlight this aspect of relevance. Elicker points out:

The message always came from an everyday experience, to capture attention. Whether it's a story, a situation with great repercussions in the media, or the most important fact in the history of that day. Afterwards, it continued with the spiritual application, also seeking to rely on some biblical text or story, always ending with the message of God's love and protection, and wishing "a happy and blessed day".[181]

 

Brum highlights this emphasis on people's reality, when reporting the use of stories or everyday situations, which are easy to identify. Subsequently, the application of the Word of God. Finally, a conclusion, or catchphrase, leading to closure.[182] Tiago presents his message model topically:

Greeting;              
Introduction with an "everyday parable" or factual example;    
Application to the Christian life      
law and gospel;   
Invitation to know this Gospel, practical suggestions for everyday life based on what God says in the Bible;        
Farewell.[183]

Ries Jr does the same, listing four items: a short introduction to the theme, use of a story to illustrate it, insertion of a biblical verse or text and, finally, the application to daily life.[184] In similar terms, Lucas describes:

-Greeting
-Illustration: It can be a story, a fact, an object, a place. Often, something that, in principle, leaves the viewer intrigued;       
-Transition to application, which starts from pointing to Christ as the source of everything in our life;   
- application for daily life, starting from faith in God.
-Conclusion, always looking for a 'golden closure', a sentence that ends the message closing the circle with the initial illustration and theme.[185]

Regiani presents two parts, divided into 4 moments, also indicating, between one part and another, a change of shot / angle / framing:

1. The question or problem;             
1.1. Introduction, with a hook to draw attention and lead to the subject;
1.2. Exploration of social, relational or existential issues involved in the proposed theme;  
2. The Gospel;     
2.1. What has to be said, from the point of view of Christian faith, on the subject;
2.2. Conclusion, usually referencing the introduction.[186]           

Grasel demonstrates that, at times, he resorted to his ability to improvise, at others, he used read text. In general, he built a mental scheme in parts, being a kind of “scaffolding” for the construction of thoughts.[187] Schmidt, who also has a written and spoken role in other vehicles and media, brings the following ingredients:

They are messages with a simple structure, with a beginning, middle and end, seeking the listener's attention. I try to look for a subject about some news, a fact that is in the media, something that is happening, to make a ‘hook’ to the Word of God. That is, using creativity, I always try to bring the Gospel into people's lives with something that is happening, in order to draw attention.[188]

All presenters, therefore, seem to follow the path of creativity, variety, illustration, and metaphor, as analyzed by Jagnow and Rossow. In addition, they reflect Caemmerer's instruction that each sermon must have only one objective. When a pastor tries to achieve more than one purpose in a single sermon, it weakens their attempt to persuade the listener.[189]

Extending the discussion on the construction of the television message, answering the question “What should a Lutheran message be like for television?”, the presenters highlighted some items. For Tiago, “without church platitudes, simple, with a smile on the lips and without labels. Just talking about Jesus in a modern and attractive way.”[190] Schmidt adds “Very well prepared, communicative, creative, dynamic, current, committed to its confessional principles, responsible with its doctrine, and above all, that has the same language as Jesus, that is, love for people.”[191] Ries lends his vision of understanding how to be confessional in communication:

Confessional! But what does confessional mean? That we must maintain our doctrinal focus in all messages. To be confessional is to be biblical and relevant to the daily lives of all viewers.[192]   

Brum notes that the Lutheran message on television must be relatable to the audience, relevant to the present day, grounded in the Bible, visually and rhetorically pleasing to the viewers' eyes and ears.”[193] Grasel highlights the opportunity to use this tool which takes the message to places where it is not known where they will be. Several comments from people who watched a message refer to the validity of its production, despite the fact that, at the time of recording, no one's face was being seen.[194] Regiani emphasizes what he believes to be “the DNA of Lutheran homiletics: speaking in a simple way and close to the time in which we live, reforming and adapting the language. To speak of the gospel as a mother speaks to a child”. Many of the attempts that the IELB carries out through television, according to him, still maintain the construction model and the formal tone that attach to the internal context of the Church. For example, “the professorial posture, the posed tone of voice, the pauses and rhetorical questions "very formally" posed; the indirect construction of sentences; the prayers in speech tone.”[195]

This is also what Elicker thinks, when he states that the language must be simple and attractive and the content must be based on Lutheran doctrine. The message can take advantage of theological and doctrinal themes and teach them in a simple and positive way, so that it can be understood and reinforced by different audiences. And he adds: “Since the Lutheran message is characterized by the great rediscovery of the Gospel through Luther, the evangelical language of God's love through Christ must predominate”, in line with Walther's position, in his thesis number 27 .[196] Lucas further adds:

-Designed for a primarily non-Lutheran audience;      
-Based and focused on basic concepts of the Christian faith:    
-Applied to people's daily lives;      
-Thinking about the long term, establishing relationships; do not put all the content in each message;   
-Well-crafted visually;      
-Focused on clear and consistent arguments, without the need for appeals or impositions.

From the various responses of the communicators, it is evident that the main elements typically found in a Lutheran sermon—Christocentrism, law and gospel, and a focus on the person and work of Jesus Christ—are clearly present in their message structures and content. The central objective is consistent: to convey the theological teachings of the Church while considering the context and reality of the audience. However, one aspect that does not seem to be regularly addressed is the careful consideration of the pericope.

We can also add here another ingredient of relevance theory:

Relevancy itself is defined by comparison. A communicated idea is more relevant if it has many contextual effects for the listener. Communication is also more relevant if it requires less mental processing effort to understand. A communication is optimally relevant when it is worth the listener's effort to process it, and it is the most relevant text that could have been generated consistent with the speaker's abilities and preferences.[197]         

It is important to observe, when analyzing the information about the production, formatting, content, and intended audience of the communicators, and their repeated affirmation of the effort to express content that remains unchanged while using varying forms, the alignment with the principle expressed in Article VII of the Augsburg Confession. This article addresses the essence and content of worship and the Christian message, as well as its relation to the methods of conveying it:

And for the true unity of the church, it suffices that there be agreement on the doctrine of the gospel and the administration of the sacraments. It is not necessary that human traditions or rites and ceremonies instituted by men should be similar everywhere. ^.[198]    

The concern with creativity and variety in the construction of texts and messages emerges from the interviewees' responses. This is in line with Chester Pennington when he emphasizes that persuasion skills in preaching come from creative expression. Therefore, it is not a work done haphazardly, but carefully constructed, “This undoubtedly requires some creative work”.[199] Jagnow sees creativity and variety as the key words in the quest for quality reception of the Christian message by listeners. And this does not happen when the communicator always repeats the same arguments and resorts to worn-out formulations. [200]Argues:

Undoubtedly, the Holy Scriptures, in all their pages, testify to the variety and creativity with which biblical preachers announced the creative Word of God.[201]  

Kerygmatic preaching and its use of metaphors: Rossow suggests that metaphor, as a whole, is employed in this style of preaching to translate the essence of the Christian message into a form that is accessible to listeners, thereby facilitating a salvific encounter with God. He further adds:

Because metaphor often functions at the level of a general method for bringing text and listeners together, describing how it works becomes similar to describing the homiletic method as a whole.[202]

 

The need for variety in preaching is further emphasized by Harold Freeman’s words: “Our hearers need variety. They put on invisible earplugs when they hear the same sound coming on... We need to build into our reservoir of sermon resources enough variation to introduce an element of surprise into our preaching ministry.”[203] Later, Jagnow expands on this, stating that because the Word of God is creative, creativity is intrinsic to preaching. He outlines what he sees as the essential tripod of the creative process: accumulated experience, the motivation to be creative, and the freedom to break patterns (or paradigms) and explore new ideas.[204]

In this context, a key distinction can be made. While designed for broadcast in the television environment, which demands creativity and variety, one cannot conclusively claim that unrestricted adherence to television communication models—particularly emotionality, simplism, and commercialism, as Ramos describes—applies to the Lutheran way of conceiving and producing messages for this medium. Still, that the Lutheran television message also “converts, necessarily, into merchandise, and the experience of God, or of faith, is placed side by side with other products on the market.”[205] On the contrary, when analyzing the way in which the messages reported by the pastors were produced a similarity is observed with what Prieto describes when he states: “As preachers, we have to confront them [the postmodernists] with the metanarrative of Scripture. Through the narrative story of the Gospel, the Holy Spirit can make history their story. Bible truth, their truth.”^[206]      

3.3.          The invisible audience

 

One of the central objectives of this work is to investigate how communicators of the Word handle the situation of being in front of a camera, speaking to no one directly, while potentially reaching an audience of thousands, most of whom remain entirely unknown to the preacher. Preaching without a visible congregation is a challenging task for Lutheran pastors, whose homiletic training is typically focused on engaging with a present audience. Therefore, understanding how they confront this challenge and how they conceptualize the invisible audience they are addressing is key to comprehending the production and broadcast of televised Lutheran preaching.

Grasel reports that Toque de Vida was not his first experience on television, but he resumed it when acting on the program. It highlights the need to realize that one is always learning, in a posture of humility. He emphasizes that he considers this reality of reaching many environments and homes encouraging. "It enhances the moment, even though you're not seeing anyone's face but that camera."[207]

Lucas recalls that, once he was used to talking face-to-face, receiving an immediate reaction from people, in the beginning 'chatting with a camera' was extremely challenging. It was with the passing of time, and with becoming aware that, behind those lenses, possibly thousands of people would receive the message of the Gospel, that he was able to develop greater naturalness. Also highlights:

It represented a great responsibility. Especially for being a very heterogeneous audience, who would receive that message at different times of the day, in different life situations. It was a slow construction of a language that could immediately connect with the viewer.

 

Schmidt believes that, even with the experience of working in front of a camera, it does not have the naturalness that he would like, as he understands that the camera creates a certain barrier in communication, since people do not receive an immediate reaction, as in face-to-face communication. “At the same time, I always tried to imagine the public in front of me, in order to avoid a square communication, as if I were talking to the walls.” He recalls the butterflies in his stomach, noting that if it was just the camera, it wouldn't be as difficult as knowing that thousands of people would watch that message. “This generates a natural nervousness, which hinders the smooth running of communication.”[208]

For Elicker, the experience did not present significant difficulties, since he was studying journalism, which was of great help. He points out, however, that it is not possible to do without preparation. Putting yourself in the viewer's shoes is another strategy, encouraging people to use Portuguese correctly; illustrations, making it easier for the public to follow the reasoning and its application; also, take care of the details of the visual language. "But above all, the greatest care is in content and correct doctrine."[209]

Tiago reports the initial difficulties, due to the fact that the homiletic training is to speak to people in person. Over time, however, tranquility materializes and, in a certain sense, he considers it even easier than being in front of large audiences. He emphasizes that it is wonderful “to be able to make a difference for someone with the message of Jesus even though he is not there, live, inside the person’s house, but still, live and in color through people’s television.”[210] 

Regiani, even having had previous experience in front of a camera, reports both the same initial nervousness, for now being pastoral messages, and the same subsequent tranquility, which comes with practice. He notes that, at the time of recording, he was not thinking about the fact that potentially thousands of people could watch that message, possibly because it was a recorded program, not live. “But it was interesting to hear or get reactions afterwards, via email or meeting people who happened to remember watching the show.”[211]

Brum recalls that, at first, he found it cold and discouraging to speak in front of a camera. I was used to an immediate reaction from speaking in front of people, and it was a shock not to have it, in that format. With time,

when I realized that behind the camera lens could be an infinity of people and souls, I began to change my attitude, understanding that I would be having the opportunity to speak to a larger and more heterogeneous audience than my congregation or weekly students, and more, without a immediate visual feedback. This caused my gestures, rhythm of words and sound rhetoric to change significantly, adapting to that reality according to the witness of the Gospel of Christ. I tried to seize the opportunity, molding myself to it.[212]

 

Ries Jr. also reports the initial difficulty and speaking in front of a camera and getting used to it over time. He understands that observing other television presenters and receiving tips from more experienced people also contributes to the process. Regarding the impact of speaking “to nobody”, she observes that the feedback received from people who watch her reinforces the certainty that the Word does not return empty. “The Holy Spirit operates through these means of mass communication”, he reinforces.

The responses from the interviewees underscore the challenges faced by IELB pastors in relation to television. A lack of initial experience emerges as a key barrier to overcome, requiring continuous training, repetition, and an understanding of the unique demands that delivering a message in front of a camera entails. The interviewees also point out that the homiletic and rhetorical principles developed for in-person communication need to be adapted and specifically tailored for the television environment.

In this connection, Rich Gurgel, when commenting on the double way in which the Word acts when communicated – Psychological and Supernatural – highlights that trust in the second should not prevent us from investing in the first. 

This protects us from the folly of assuming that the power of the Word means we don't have to put significant effort into working out how we speak the message to our hearers.[213] 
 

Robert Rosin also makes an important contribution on the need to prepare and adapt to the medium in which the message is communicated, when he comments on the fact that the medium affects the message:

Do we realize how much the means of communication - the media - actually shape the message ? If we don't realize what a medium or media can do to the message it carries or conveys, we can get hurt.[214]

 

Further, he emphasizes the importance of the communicator's proper preparation when conveying the word of God—without diminishing the role of the Holy Spirit. Without preparation, preaching can become little more than a repetitive mantra. He points out that this is why the Seminary prioritizes the study and teaching of homiletics and biblical interpretation. "This is why pastors, and people in general, strive to express themselves in the best possible way... We need to learn to do our best.”[215]         

3.3.1. Non-Lutheran Public

The presenter pastors of Toque de Vida were also invited to describe how they dealt/deal with the fact that the majority of the audience is potentially non-Lutheran.

Regiani sees it as an enabling factor, something that normally made him feel more at ease, “without the formal requirements associated with speaking 'to the church'”. [216]For Brum, it is a great opportunity and responsibility. [217]Ries Jr. points out that reaching out to non-Christians was what actually motivated him to record, since “Christians go to church to listen to the word of God.” [218]Lucas relates his expectation and joy, since his main objective has always been, through the program, to speak to people outside the Lutheran circle. "When making each message, this was always the primary target audience in my mind."[219]

Schmidt describes the opportunity as a natural and pleasant challenge, which even helps in communicating with Lutherans, transforming the language into a more contemporary and pleasant one for their ears, since they are also used to the external language. [220]Grasel describes that this made him feel freer, as he realized the fact that the seed would be released in different environments.

Suddenly, it's the person's first opportunity to start thinking about life, thinking about essential things in their existence and the fact that it's not a program so focused on our Lutheran, that didn't bother me, I even think it was a challenge why did I have to speak a non-church language.[221]

Finally, Tiago mentions that it is a constant challenge, which avoids the comfort zone or the mere repetition of theological words. He considers it a privilege for the pastor to be able to speak to people outside his flock, something that only mass communication can offer. [222]And Elicker comments that he considers this the biggest challenge:

I think that precisely the concern for a non-Lutheran to say "I get it now", "I hadn't thought of that", "That's interesting", "That happened to me too" was the guide to all the language and preparation of the program.[223]

 

The perceptions of the interviewees are in line with Kolb, who states that not only the message content must be accurate, but also needs to be presented correctly and, as he spoke to the public of the apostles and prophets, so long ago, it must be " precisely directed to the situation of the contemporary listener”.[224]

Here, Jagnow's emphasis on creativity and variety in preaching is resumed. He observes that preaching can be seen as an artistic expression, since the preacher is a craftsman who acts as an instrument of God in an orderly and expressive way. [225]Creativity in preaching “is the eye that seeks to see what is familiar from a new perspective or a different context” [226].

3.3.2. Reception

Continuing on the topic of the intended audience for the production and broadcast of the messages, the pastors were encouraged to reflect on the question: 'What factors were considered when recording the program, with regard to its goal of communicating a Christian message to the public in the Porto Alegre metropolitan area, especially in the so-called postmodern era?'"

Here it is possible to outline some converging points. First of all the fact that the audience is mostly not composed of Lutheran Christians seeking real-world connectivity with the real God - the biblical God.[227] As the program is inserted in an academic environment, it provides an opportunity for good, intelligent Christian messages. A language that includes examples of the daily life of people in a large metropolis.[228]  Simple content, everyday examples, local culture, good aesthetic, and a smile when communicating a good message.[229] To speak to what the listener or viewer has in front of him/her today, and their questions in a scenario of rapid changes; constant concern to contextualize; balance between text and context.[230] A diverse audience; the individual act of watching, as opposed to the traditional model of the family gathered on the couch; the fluctuating attention competing with other media; the need for a tone that is less "apodictic" or "teaching" and more dialectical, from the point of view of rhetoric.[231]

Other topics mentioned were: using language that avoids direct denials and attacks on other worldviews, always trying to be assertive about the Christian faith, and that seeks to demonstrate security and clarity in statements; no need for rudeness, shouting, or attempts at intimidation; messages focused on everyday life, on 'today', since the generation of the beginning of the 21st century is characterized by a distancing from the past and a certain hopelessness about the future.[232] To communicate the Gospel; to present the Lutheran confessionality; to be a channel of communication for Lutheran Christians; to transmit different proposals for life in a way that is foreign to the Word of God and the practice of God's will.[233]

Emphasis is also given to contextualizing the themes treated in a very didactic way for people's daily lives, trying to bring recent examples of events that could serve as an illustration and that makes sense to viewers. The program's language was very focused on a non-Christian or non-Lutheran target audience, not least because it emerged within a university.[234] 

The interviewees, in general, are, on one hand, opposed to Schaibley, who argues that the needs of listeners should not be prioritized, as Lutheran preaching is “not communication, but proclamation.” On the other hand, they align with Kolb’s perspective, recognizing the need to understand the questions and struggles of those outside the faith for an effective application of the Word. They also share Jagnow’s view, which emphasizes creativity and variety as essential to taking the listener seriously. Citing Gerald Knoche, Jagnow suggests that creativity can be seen as a bridge between the unchanging Word of God and the ever-changing audience it addresses. He stresses the importance of creating conditions that allow God's creative and recreative action to have the greatest possible impact on the listeners' lives.[235] But he also highlights in accordance with Lutheran biblical teaching:

The listener's true response does not come because of his ability as a preacher, but as a result of the action of the Spirit of God. You must seek to be or become a creative preacher, yes, but sanctifiedly creative.[236]   

Under the heading “updating, not accommodating”, it is also worth seeking in Kolb the reference that the words that are announced must be clear and understandable for people who are not familiar with the context of the Scriptures, avoiding, however, the danger of, when building the bridge, focusing too much on the side where it touches the prevailing culture. Christians cannot forget the guidance of the Holy Spirit in this matter. But, also, they need to

remember that the Holy Spirit does not work in a magical way. He guides and advises through intense study of the Word and the culture to which he has called us to be witnesses. He guides and advises through brothers in the faith, who are also engaged in the study of the content, or teaching of the Word, and its application and proclamation in the society in which they live.[237]

Hard work is indispensable for that purpose. It is not possible to divide pastoral communication between creative and non-creative preachers, argues Jagnow, because creative results are possible in the life of any pastor, in any area of ministry.[238] This is what Knoche defends, for whom good results in preaching are given less by superior gifts and more by hard work over time. Creative pastors are those who understood creativity as something important and constantly worked in this direction.[239]

3.3.2.1. Reception in the view of the producers     

It is also relevant, in this context, to mention the opinions of the three producers of the program, as presented in chapter 2 of this work. In addition to their roles as producers, all three also served as receivers of the message. Having no prior connection to the IELB, its doctrine, or practices, they shared their perspectives on the effectiveness of the program's communication.

Bordinhão understands that the program achieves its objective by focusing on people who are open to new information, with faith and with a more contemporary profile. “These are people who set aside a small amount of time each day to receive words of comfort and motivation.”^[240] Silva understands that the effectiveness of the program lies, in large part, in the fact that it addresses real and obvious everyday situations, also including commemorative dates. “The effectiveness [is] in its simple and brief communication”, he points out, indicating that the message reaches both those who are Christians and has the potential to win over those who are not. [241]And Nucci believes the show was able to quickly reach its goal of reaching viewers with a positive message. She mentions that the team was able to create an attractive program, easily accessible to the whole family. Being a program shown in the morning and in the evening, reaching different audiences, it needed to have a fully comprehensive and dynamic format. And concludes: “I believe that Toque de Vida was able to contemplate all types of viewers.”[242]

 

3.4.          Lutheran preaching for television

 

With the content presented so far, it is possible to infer, within the context of succinct communication in the television medium, a concept of the Lutheran television message..

From the producers' perspective, as analyzed in Chapter 1, the following ingredients can be identified: clear and objective language that is connected to the viewers' lives; the use of everyday illustrations and informal language; a concern for audio and video quality; and well-edited segments that provide dynamics to the program.

From the interviews with the pastors, linked to the foundations of Lutheran homiletic practice, it is evident that, taking into account the traditional ingredients of Lutheran preaching, the television communication of the IELB can be defined by a clear, objective language, filled with everyday ingredients and which, through illustrations and connections with daily life, seeks, in a few minutes, to connect the viewer to the Gospel. Its distinguishing feature from face-to-face preaching lies in the fact that it does not have the audience before it. This imaginary audience is made up of a non-denominational group, that is, a wide spectrum of people from all possible backgrounds.

One can see the constant concern among the communicating pastors to establish contact with this "invisible audience," even though they lack specific data about the viewers. The focus is on communicating creatively and with variety, avoiding theological jargon and language that might be more suitable for the Lutheran congregation audience, who are already familiar with it. The effort is to use the medium effectively—paying attention to both the visual language and the inherent requirements of a message broadcast on television.

3.5.          Dangers and Benefits           

 As a closing the interviewed pastors were invited to express their opinion about the dangers and benefits for the Church when using television preaching.

With regard to the dangers, these are some topics mentioned: the risk of the presenter desiring to be the star of the show, taking Christ out of the center;[243] regarding congregations, the difficulty in dealing with profiles of people coming from this mission work, with their cultures and practices and lack of clarity regarding the immutable (content) and the changeable (form), in addition to a feeling of impotence in the face of issues polemics and the theme of sanctification;[244] misuse of it (careless production and contextualization, bad content) and exhibitionism;[245] loss of identity in the exaggerated search for attention; sacrifice of theology by simplifying complex issues or seeking to respond to the viewer's desires with objective answers;[246] exposing the church to the external public without due technical and doctrinal preparation, not communicating the Gospel effectively and creating more barriers in bringing people to Christ, in addition to the danger of trying to please the external listener, without preaching Law and Gospel; [247] becoming just a television entertainment attraction; [248]misuse and excessive mediatization of the Church.[249]

As for the benefits, Ries Jr., succinctly, comments that “the greatest benefit is reaching many people at the same time.” [250]Grasel points out that the fundamental thing is that, amid all the televised options, Jesus Christ prevails as the only Savior.[251] Regiani sees as positive adapting the language to the times we live in and the possibility of reaching people who would otherwise not be reached as strengths. He also cites the visibility of the Church before the world and, also, the “strengthening of the identity of the church members themselves when they see themselves or their pastors in these spaces.”[252] Brum lists social visibility for later involvement in projects and partnerships, reaching out to people outside the Lutheran church and involvement with society. He also highlights “opportunities to leave the missionary comfort zone.”[253] In line with these opinions, Lucas highlights the benefit of reaching a larger number of people, “challenging oneself to leave the Lutheran 'little box'. Greater exposure, which implies greater preparation”. He also stresses fulfilling the mission of the IELB, which is to communicate Christ to all.

This mission is the starting point for Elicker to highlight that he only sees advantages in this work. For him, the seed will be sown in different “soils”, without imposition, as people have the option of switching channels. And, if there is resistance or even misuse of the message, there is no need to fear, since we are secure of what we communicate.[254] In the same line, Schmidt believes that the benefits are wide, such as the expansion of the Gospel and the fulfillment of Christ's order. He also emphasizes “penetration in a differentiated space, dissemination of Lutheran doctrine among people from other churches or non-believers, visibility of the church, challenges of transforming the communication language more attractive also for the internal public”.[255] Pointing to the Great Commission of Christ as well, Tiago states that the benefits are incalculable in fulfilling it, in addition to showing a church inserted in people's daily lives, investing in being close to people, and “that is concerned with the 'lost sheep of the house of Israel'."[256]

demand for novelty and the rapid disposal of previously aired content, it may seem that the effort invested in its use—when comparing the time spent preparing the content versus the audience reached and the results obtained—was perhaps futile. Rosin, however, points out that,

Luther understands that what is proclaimed is the viva vox Dei, the voice of God. The preacher and the words he speaks are transient, but the message conveyed brought life.^[257]  

This perspective is further emphasized by Tatiana Nucci, who reflected on her satisfaction in being part of the program’s history::

It was years of learning through your messages and explanations. Many times, the messages seemed to be written directly to me. The simple and direct format, the colloquial language used, are certainly determining factors for the success and long life of the program.[258]

 

 

 

 

CONCLUSION

On air since November 2004 and currently in its 11th season, with over 2,000 unique messages produced, the Toque de Vida program stands as the longest-running communication initiative on an open channel in the history of the IELB. It marked the Synod’s return to open-channel television after a hiatus of more than a decade. This comeback was realized through a daily program on Ulbra TV, the channel of the Lutheran University of Brazil. Throughout its history, with the author of this dissertation serving as its main anchor, the program also featured the participation of numerous Lutheran pastors, some of whom contributed to the research presented in this dissertation. These pastors, trained in traditional Lutheran homiletics focused on face-to-face preaching, had to adapt their methods, style, and production to suit the television format.

This dissertation documents the history and production process of the Toque de Vida program. The research provides details and metrics about the program while addressing the specific challenges of Lutheran preaching in a television context. It examines the homiletic style and practices of its presenters, exploring their approach to visual language and message content for a television audience. The study includes interviews with three producers and focuses on both technical and presentational aspects of production.

Preaching to a television audience, essentially “everyone and no one,” highlighted the need to adapt face-to-face communication techniques to a television medium. The research identifies key elements for developing a Lutheran homiletic approach suited for television. Efforts were made to construct messages rooted in Lutheran doctrine and face-to-face homiletic principles while targeting an anonymous audience. These messages aimed to connect with the imagined viewer’s daily life through clear, concise, and illustrative communication that conveyed the Gospel’s truth to the hearts of its audience.

Like any research, this study has gaps that could be addressed in future work. One promising area for further exploration is a reception study to understand how viewers interpret and assign meaning to the program. Additionally, expanding homiletic research to include other non-face-to-face media, such as the internet, social networks, and other digital platforms, is crucial for advancing the field.

In conclusion, the mission of Christians, pastors, and the Church remains unchanged since Christ’s Great Commission: to make disciples by baptizing and teaching. Whether preaching to an in-person congregation—sometimes amounting to “preaching to no one” depending on the effectiveness—or delivering a message in isolation through television, the goal remains the same. When done effectively and with proper use of the medium, preaching “to no one” can indeed become preaching “to everyone."

_______________________ 

REFERENCES

 

• Albrecht, Lucas André, and Jamile Dalpiaz. The Lutheran Sermon in the Receiver's View: A Study of the Evangelical Lutheran Community São Paulo de Canoas. Completion work of the Social Communication Course. Canoas, 2011. Available at the Library of the Lutheran University of Brazil.
• Albrecht, Lucas André. Interview for My Dissertation. Message by email, May 2015.
• Albrecht, Tiago José. Interview for My Dissertation. Personal message, May 2015.
• Holy Bible with Reflections of Luther. São Paulo: Bible Society of Brazil, 2012.
• Briggs, Asa, and Peter Burke. A Social History of Media: From Gutenberg to the Internet. 2nd ed. Rio de Janeiro: Jorge Zahar Ed., 2006.
• Caemmerer, Richard Rudolph. Preaching for the Church. St. Louis: Concordia Publishing House, 1959.
• Cook, Anthony A. "Media as Source of Information and Identity." In The American Mind Meets the Mind of Christ, edited by Robert Kolb, 146-161. St. Louis: Concordia Seminary Press, 2010.
• Dreher, Martin N. Wilhelm Rotermund: His Time – His Works. 2nd ed. São Leopoldo: Oikos, 2014.
• Eislinger, Richard L. The Web of Preaching: New Options in Homiletical Method. Abingdon Press, 2002.
• Jagnow, Dieter Joel. TV as a Vehicle for Evangelization in the Evangelical Lutheran Church of Brazil. Reologia Magazine 1, no. 4 (Feb.-Mar. 2011): 14.
• Jagnow, Dieter Joel. Creative Preaching. Porto Alegre: Concordia, 2010.
• Kolb, Robert. Communicating the Gospel Today. Translated by Dieter Joel Jagnow. Porto Alegre: Concordia, 2009.
• Lotz, David. "The Proclamation of the Word in Luther's Thought." Word and World 4, no. 3 (1983). Translated by Clóvis Jair Prunzel. 2004. Available at: http://www.seminarioconcordia.com.br/Artigos_Prunzel/A%20Proclamacao_na_Teologia_de_Lutero.mht. Accessed April 25, 2011.
• Mueller, John T. Christian Dogmatics. Vol. II. Translated by Martinho L. Hasse. 3rd ed. Porto Alegre: Concordia, 1964.
• Walther, CFW. Law and Gospel. Porto Alegre: Concordia, 1998.
• Weirich, Paulo P. "Meaning and Content in the Christian Proclamation: Subsidies for Reflection from Luther's Reading in Chapter 1 of the Gospel of John." Revista Igreja Luterana 62, no. 1 (2002): 35-54.

Articles and Contributions:

• Hall, Stuart. "Encoding, Decoding in the Television Discourse." In Culture, Media, Language, edited by Stuart Hall, Dorothy Hobson, and Peter Lowe. London: Hutchinson, 1993. In Audience Reception and Decoding, by Denis McQuail and Sven Windahl, 1993. Available at: http://wwwusers.rdc.puc-rio.br/imago/site/recepcao/textos/mcquail2.htm. Accessed April 25, 2011.
• Jacks, Nilda, and Ana Carolina Escosteguy. Communication and Reception. São Paulo: Hacker Editores, 2005.
• Scholz, Wilson. "Postmodern Hermeneutics." Revista Igreja Luterana 56, no. 2 (1997): 159-163.

Theses and Dissertations:

• Rossow, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008. 296 pp.

Interviews:

• Bordinhao, Fernanda Chacon. Master's Interview. March 2015. Communication via email.
• Elicker, Angelo Naor. Interview for My Dissertation. Personal message, June 2015.
• Graesel, Gerhard. Audio Interview for Dissertation. June 2015. Audio recorded on cell phone.
• Regiani, Herivelton. Interview for My Dissertation. Personal message, June 2015.
• Ries, Walter Trescher Junior. Interview for My Dissertation. Personal message, May 2015.
• Schmidt, Marcos. Interview for My Dissertation. Personal message, May 2015.
• Nucci, Tatiana. Master's Interview. March 2015. Communication via email.
• Silva, Fabiano Ribeiro da. Master's Interview. March 2015. Communication via email.

Websites:

• IMDb. http://www.imdb.com/name/nm4529907/.
• SECOM Communication Manual. http://www12.senado.leg.br/manualdecomunicacao/glossario/retranca.
• ULBRA Pastoral. http://ulbra.br/pastoral/culto-toque-de-vida/.
• ULBRA TV. http://www.ulbratv.com.br/historico/.
• Portal R7. http://entretenimento.r7.com/cinema/glossario/glossario-1.html.
• First Film. http://www.primeirofilme.com.br/site/o-livro/enquadramentos-planos-e-angulos/.
• Methodist University of São Paulo. Jornal da Metodista, Glossary. http://jornal.metodista.br/tele/manual/glossario.htm.
• Pastoral Channel on Youtube. www.youtube.com/pastoralulbra.

 

 

---

[1] COOK, Anthony A. Media as source of information and Identity. In: The American Mind meets the mind of Christ . Kolb, Robert, ed. St. Louis, Concordia Seminary Press, 2010, p.146-161.

[2] PRIETO, Ely. Communication skills for postmodern challenges . San Antonio; 2003, Work presented in the classroom for a graduate course.

[3] LUECKE, David S. Trends among Lutheran Preachers. Word and World , Volume XIX, Winter 1999. Available at: http://www2.luthersem.edu/Word&World/Archives/19-1_Preaching/19-1_Luecke.pdf Accessed 21 Nov. 2010.

[4] JACKS, Nilda; ESCOSTEGUY, Ana Carolina. Communication and Reception. São Paulo: Hacker Editores, 2005.

 

[5]JAGNOW, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine. Year 1. Number 2. Dec 2010- Jan 2011, p.36.

[6]Id.Ibid., p.36

[7]Id.Ibid., p.36

[8] BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil. Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.86

[9]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil. Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.175. The production model of Cinco Minutos com Jesus has remained the same since the beginning, carried out with the collaboration of several IELB pastors, including the author of the dissertation, who has already written more than 100 devotions in the last 15 years. Source: www.horaluterana.org

[10]BUSS, Paul Wille. A grain of mustard: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.156.

[11]Id.Ibid., p.304

[12]JAGNOW, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine. Year 1, number 2. Dec 2010- Jan 2011, p.36. The article brings a more detailed view of initiatives in this area.

[13]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.87

[14]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil. Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p. 87.

[15]Id.Ibid., p.177.

[16]Id.Ibid., p. 177.

[17]Id.Ibid., p.251.

[18]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil. Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.251.

[19]Id.Ibid., p.251-3.

[20]Id.Ibid., p.254.

[21] We use here Bueno's (2003) concept of internal communication here: "Internal Communication is the communication effort developed by a company, agency or entity to establish channels that enable the relationship, agile and transparent, between management and the internal public and between the elements that make up this public (it is known that there are several internal publics in an organization).” BUENO, Wilson da Costa. In: Mansi, Viviane. Internal Communication: what is it and what is it for? Available at: http://www.comunicacaocomfuncionario.com.br/2013/01/15/comunicacao-interna-o-que-eea-que-se-propoe/ Accessed: September 2015. With the addition: “Internal Communication is not restricted to the so-called downward communication, that which flows from management to employees, but includes mandatorily horizontal communication (between segments of this internal public) and upward communication as well, which establish the feedback and effective communication.” Internal communication. In: Online Business Communication. Available at: http://www.comunicacaoempresarial.com.br/comunicacaoempresarial/conceitos/comunicacaointerna.php Accessed: September 2015

[22] DREHER, Martin N. Wilhelm Rotermund: His Time – His Works. 2 ed. São Leopoldo, Oikos, 2014, p.76

[23] DREHER, Martin N. Wilhelm Rotermund: His Time – His Works. 2 ed. São Leopoldo, Oikos, 2014, p.76 The author inserts these reflections in the context of the chapter in which he talks about the Mucker revolt. “In this environment where faith was not something that was externalized (...) the meeting at the Maurer house, next to [Mount]Ferrabraz, must have caused a sensation. There was an externalization of faith there. Anyone who acted like that could be the target of mockery.” P. 76

[24] STEYER, Walter O. German immigrants in Rio Grande do Sul and Lutheranism. Porto Alegre: Singulart, 1999.

[25]JAGNOW, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine. Year 1, number 2. Dec 2010- Jan 2011, p.36.

[26] http://www.ulbratv.com.br/historico/ Accessed on: April 29, 2015

[27]Jagnow,. Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine. Year 1, number 4. February and March 2011. p.14

[28]Id.Ibid., p.14

[29]Jagnow, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine. Year 1, number 4. February and March 2011, p.14

[30]NUCCI, Tatiana. Master's Interview. March 2015. (Communication via email)

[31]Id.Ibid.

[32]Id.Ibid.

[33]NA: Journalistic term. “Head: It is the lead [introduction] of the matter. The person who reads it is always the presenter who introduces the subject of the article made by the reporter”. Available in: http://jornal.metodista.br/tele/manual/glossario.htm Access: April 30, 2015

[34]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email)

[35]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email)

[36]NA: Journalistic term. “Call: Text about the main highlights of the newscast, transmitted within the broadcaster's normal programming. It aims to attract the viewer”. In the case of Toque de Vida, the term Retranca, used internally between presenter and production, would probably be more appropriately applied. “Retranca: Identification of the topic. It is the name of a given program. It is only used internally and only highlights two words from the Video.” Available at: http://jornal.metodista.br/tele/manual/glossario.htm Access: April 30, 2015

[37]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).

[38]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).

[39]NA: Closed shot, or close-up: “the camera is very close to the subject, so that it occupies almost the entire scene, without leaving large spaces around it. It is a plane of INTIMACY and EXPRESSION.” Source: http://www.primeirofilme.com.br/site/o-livro/enquadramentos-planos-e-angulos/

[40]NA Open plan, or long shot: – “the camera is far from the object, so that it occupies a small part of the scene. It is an AMBIENTATION plan.” Source:  
  http://www.primeirofilme.com.br/site/o-livro/enquadramentos-planos-e-angulos/

[41]BORDINHAO, Fernanda Chacon. Master's Interview. March 2015. (Communication via email).

[42]Id.Ibid.

[43]NUCCI, Tatiana. Master's Interview. March 2015. (Communication via email).

[44]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).

[45]BORDINHAO, Fernanda Chacon. Master's Interview. March 2015. (Communication via email).

[46]NUCCI, Tatiana. Master's Interview. March 2015. (Communication via email).

[47]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).

[48]NUCCI, Tatiana. Master's Interview. March 2015. (Communication via email).

[49]Id.Ibid.

[50]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).

[51]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).

[52]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).

[53]SILVA, Fabiano Ribeiro da. Master's Interview . March 2015. (Communication via email).

[54]BORDINHAO, Fernanda Chacon. Master's Interview. March 2015. (Communication via email).

[55]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).

[56]NUCCI, Tatiana Master's Interview. March 2015. (Communication via email).

[57]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).

[58] See p.20.

[59]BORDINHAO, Fernanda Chacon. Master's Interview. March 2015. (Communication via email).

[60]Id.Ibid.

[61]Id.Ibid.

[62]“TV service broadcast marks 104 years of IELB foundation”. Available at: http://noticias.gospelmais.com.br/transmissao-de-culto-pela-teve-marca-104-anos-de-fundacao-da-ielb.html . Accessed on April 30, 2015

[63]“Ulbra confirms it will have a new sponsoring entity”. Available at:             http://www.diariodecanoas.com.br/_conteudo/2014/04/noticias/regiao/39503-ulbra-confirma-que-tera-nova-entidade-mantenedora.html Accessed on April 30, 2015

[64]“TV Service broadcast marks 104 years of IELB’s foundation”. Available in:          
 http://noticias.gospelmais.com.br/transmissao-de-culto-pela-teve-marca-104-anos-de-fundacao-da-ielb.html . Accessed on April 30, 2015

[65]Id.Ibid.

[66]“ Touch of Life ”. Available at: http://www.ulbratv.com.br/toque-de-vida/ Accessed on April 30, 2015.

[67]Id.Ibid.

[68]“Touch of Life”. Available at: http://old.hagah.com.br/programacao-tv/jsp/default.jsp?uf=1&action=programa&canal=ULB&operadora=15&programa=0000071040&evento=000000530358992&gds=1 Access: April 30, 2015. The description of the program's content, on this website, says: “Moments of peace and reflections on the screen. Touch of Life is presented by Pastor Lucas Albrecht who brings to our life, through the Lutheran message, the word that comforts us”

[69]“Head-Chaplain”. Available at: http://www.ulbra.br/sobreaulbra/pastor-lucas-andre-albrecht.html Accessed: April 30, 2015

[70]“Daily Pastoral ”. Available at http://toquedevida.blogspot.com.br/2006/01/pastoral-diria.html Accessed: April 30, 2015.

[71] Touch of Daily Life. Email sent on September 21, 2006.

[72] Pastoral Activities. Available at: http://www.ulbra.br/pastoral/atividades-da-pastoral/ Accessed: April 30, 2015.

[73] The Book. Available at: http://toquedevida.blogspot.com.br/2008/10/o-livro.html Accessed: April 30, 2015.

[74] Launch. Available at: http://toquedevida.blogspot.com.br/2008/11/lannamento.html Accessed: April 30, 2015.

[75]Available at: https://www.facebook.com/programatoquedevida Access: April 30, 2015

[76] Pastoral Activities. Available at: http://www.ulbra.br/pastoral/atividades-da-pastoral/ Accessed: April 30, 2015.

[77] Touch of Life Services. Available at: http://ulbra.br/pastoral/culto-toque-de-vida/ Access: May 5, 2015. In their description on the Facebook page , the Toque de Vida Cults are presented as “a community of people who meet for a moment of contemporary Christian music, both vibrant and reflective, prayer and biblical teaching applied to practice. Messages that seek to answer the question: “What do the Bible and faith have to do with my daily life?” Available at: https://www.facebook.com/cultostoquedevida/info?tab=page_info Access: May 5, 2015.

[78] Available at: https://www.facebook.com/programatoquedevida Access: June 30, 2015

[79] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.

[80]ID Ibid.

[81]ID Ibid.

[82]“TV service broadcast marks 104 years of IELB foundation ”. Available at: http://noticias.gospelmais.com.br/transmissao-de-culto-pela-teve-marca-104-anos-de-fundacao-da-ielb.html . Accessed on May 21, 2015

[83] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.

[84] http://www.imdb.com/name/nm4529907/

[85] Available in: https://www.youtube.com/watch?v=aGZ3kv0ZVfY (Part 01) and https://www.youtube.com/watch?v=JqXFz1s2Yy0 (Part 02)

[86] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.

[87] ID Ibid.

[88] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.

[89] ID Ibid.

[90] Available at: https://www.youtube.com/watch?v=9vw8SbPgtfU

[91] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.

[92] ID Ibid.

[93]“Touch of Life ”: Material available in the archive of Pastoral Canoas. Accessed on July 10, 2015.

[94]“Daily Pastoral ”. Available at: http://toquedevida.blogspot.com.br/2006/01/pastoral-diria.html Accessed on: May 12, 2015.

[95]Source: http://toquedevida.blogspot.com.br/ Accessed on: May 12, 2015

[96]“Touch of Life ”: Material available in the archive of Pastoral Canoas. Accessed in June 2015.

[97]“Touch of life ”: Material available in the archive of Pastoral Canoas. Accessed in June, 2015.

[98]“Touch of Life ”: Material available in the archive of Pastoral Canoas. Accessed in June, 2015.

[99]“ Minute Toque de Vida Mix FM ”: Material available in the Pastoral Canoas archive. Accessed in June, 2015

[100] https://www.facebook.com/programatoquedevida Accessed on May 12, 2015.

[101] https://www.facebook.com/cultostoquedevida Accessed on: July 10, 2015.

[102] Drops Touch of Life Ulbra TV: Material available in the Pastoral Canoas archive. Accessed in June 2015

[103] ALBRECHT, Lucas André; DALPIAZ, Jamile. The Lutheran sermon in the receiver's view. A study of the Evangelical Lutheran Community São Paulo de Canoas. Completion work of the Social Communication Course. Canoas, 2011. Available at the Library of the Lutheran University of Brazil.

[104]Gospel of Matthew 28.19

[105]Acts, Chapter 2

[106]Acts 4.20

[107]Romans 10.14-17

[108]For example: 1 Corinthians 1:23; 2 Corinthians 4.1-6; 2 Corinthians 5:18-21; Philippians 1.15-18; Colossians 1.28-29;

[109]BURNETT, Amy N. How to Preach a Protestant Sermon: A Comparison of Lutheran and Reformed Homiletics. Department of Faculty Publications, Department of History . v. 63, Lincoln, 2007. n. 2, Available at: http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1106&context=historyfacpub Accessed 24 Apr. 2011.

[110]ID Ibid.

[111]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985. The author also adds that the term originates from the Greek HE HOMILIA, with HOMILEIN meaning to relate, to talk. HE HOMILIA designates, in the New Testament of the Bible, being together, relating. It was in the first centuries of the Christian era that this term came to be used for the sermon, from which the expression homiletic is derived.

[112]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985

[113] SCHMITT, David R. The Tapestry of Preaching . Available at: http://concordiatheology.org/2011/09/the-tapestry-of-preaching/ Accessed: October, 2015

[114] ID Ibid.

[115]WALTHER, CFW Law and Gospel . Porto Alegre: Concordia, 1998.

[116] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.316.

[117]CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959.p.5-6

[118]Id.Ibid., p.7

[119]Id.Ibid.

[120]While Walther pays more attention to the content of the sermon, Caemmerer also emphasizes the formal aspect. As for the single objective of each sermon, it shows that this can be an “objective of faith”, that is, to strengthen the listeners' faith in Jesus Christ, or “objective of life”, encouraging the listener to live his faith in practice. From the theme, it suggests how to work the parts of the sermon, with sub-themes and specific applications, a kind of 'skeleton' for the message.

[121]SCHMITT, David R. The Tapestry of Preaching . Available at: http://concordiatheology.org/2011/09/the-tapestry-of-preaching/ Accessed: October, 2015.

[122]GURGEL, Rich. A Lutheran Theology of Preaching . A brief essay to spark discussion originally prepared for the faculty of Wisconsin Lutheran Seminary, presented with some minor changes for the National Conference on Worship, Music & the Arts Available at: https://connect.wels.net/AOM/ps/worship /_layouts/mobile/mWord.aspx?doc=%2FAOM%2Fps%2Fworship%2F2008%20Conference%20Presentations%2FAlternate%20Styles%20of%20Preaching-Readings%2Edoc&s=1&source=%2FAOM%2Fps%2Fworship%2F_layouts%2Fmobile%2Fview %2Easpx%3FList%3Da4b5726b-b798-478c-b70a-945df2b4ad19%26View%3D312ea540-3c72-4120-9428-8d8da2a9ec59%26CurrentPage%3D1&i=0 Accessed: May 26, 2015.

[123] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.9.

[124] Id.Ibid., p.9.

[125]RAMOS, Luiz Carlos. Homiletical Persuasion in the Middle Ages. Contemporary preaching and the mass media . Available at: http://www.metodista.br/ppc/caminhando/caminhando-15/caminhando-15/persuasao-homiletica-na-idade-midia-a-pregacao-contemporanea-e-os-meios-de-comunicacao -de-mass Accessed on May 26, 2015

[126]Id.Ibid.

[127]Id.Ibid.,

[128] BRIGGS, Asa; BURKE, Peter. A social history of media: from Gutenberg to the Internet. Rio de Janeiro, Jorge Zahar Ed., 2006. 2nd ed., p.249

[129]ID Ibid., p.244

[130] ROSIN, Robert. The medium shapes the message. In: Luther and Communication: The Use of the Media in Proclaiming the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.53

[131]JACKS, Nilda; ESCOSTEGUY, Ana Carolina. Communication and Reception . São Paulo: Hacker Editores, 2005.

[132]HALL, Stuart “'Encoding, decoding in the television discourse'. Hall, S. Hobson, D. and Lowe, P., (eds) Culture, Media, Language. London: Hutchinson, 1993. In: HOFFMANN, Adriana, CID, César Netto and RIBEIRO, Lúcia Gomes. Audience reception and decoding (audience/spectators) Denis McQuail and Sven Windahl. 1993. Available at: http://wwwusers.rdc.puc-rio.br/imago/site/recepcao/textos/mcquail2.htm Accessed on 25 Apr. 2011.

[133]ESCOSTEGUY, Ana Carolina. Reception studies and gender relations: some provisional notes . Ciberlegenda, n.7, Rio de Janeiro, 2002. http://www.uff.br/mestcii/carolina1.htm Accessed on 15 Apr. 2011.

[134]JACKS, Nilda; ESCOSTEGUY, Ana Carolina. Communication and Reception . São Paulo: Hacker Editores, 2005, p.45

[135] ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.16 Rossow adds Craddock's definitions on Postmodernist Practice: “Meaning is a team event, a collaborative effort between the words offered by the preacher and the work of the hearers in making meaning from those words.”. And Hogan and Reid: “Rather than passive recipients, hearers are cast as actively participating in a “journey of discovery,”. Rossow concludes: “a journey the preacher hopes to guide but ultimately cannot control.”

[136]SCHOLZ, Wilson. Postmodern Hermeneutics . Revista Igreja Luterana , v.56, n.2, p.159-163, 1997. p.162

[137]PRIETO, Ely. Communication skills for postmodern challenges . San Antonio; 2003. Paper presented in the classroom for a graduate course. p.2

[138] Id.Ibid., p.3

[139]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985

[140] CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959, p.15

[141]LUECKE, David S. Trends among Lutheran Preachers . Word and World , Volume XIX, Winter 1999. Available at: http://www2.luthersem.edu/Word&World/Archives/19-1_Preaching/19-1_Luecke.pdf Accessed 21 Nov. 2010.. p.22

[142] Id.Ibid.

[143] ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.27

[144] ID Ibid., p.29

[145] ID Ibid., p.29

[146] ALBRECHT, Lucas André; DALPIAZ, Jamile. The Lutheran sermon in the receiver's view. A study of the Evangelical Lutheran Community São Paulo de Canoas. Completion work of the Social Communication Course. Canoas, 2011. Available at the Library of the Lutheran University of Brazil. p.18.

[147]ID Ibid., p.18

[148]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[149]ID Ibid.

[150]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone]..

[151]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

 [152]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email)..

[153]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[154]BRUM, Paulo Cesar Fernandes. Interview for my dissertation . May 2015. (Communication via email).

[155]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).

[156]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[157]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[158]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[159]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).

[160]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Communication via email).

[161]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[162]SCHMIDT, Marcos. Interview for my dissertation . [Personal message]. Email received in May 2015.

[163]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[164]ELICKER, Angelo Naor. Interview for my dissertation . May 2015. (Communication via email).

[165]BRUM, Paulo Cesar Fernandes. Interview for my dissertation . May 2015. (Communication via email).

[166]BRUM, Paulo Cesar Fernandes. Interview for my dissertation . May 2015. (Communication via email)..

[167]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[168]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[169]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[170]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email)..

[171]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).

[172]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[173]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).

[174] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.272

[175] ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.5

[176] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.9.

[177]KOLB, Robert. Communicating the Gospel Today . Translated by Dieter Joel Jagnow. Porto Alegre, Concordia, 2009, p.10.

[178]Id.Ibid., p.11.

[179]   PATTEMORE, Stephen. On The Relevance of Translation Theory. In: Review and Exhibitor . No: 108, Spring 2011. p .266. On the same page, the author illustrates: “If I shout "Fire!" in a crowded room, it will be understood by everyone to mean, "The house is on fire. Leave the building immediately”. I could say exactly what I mean, but it would be not so relevant because it would take too long for the listeners to process and might not gain their attention in the first place. Similarly, few in the room would interpret my utterance to mean, 'Squeeze the triggers of your guns/' although in another conte xt that might be the precisely relevant meaning . No conceivable code system distinguishes these two meanings of "Fire!" Context does that.”

 [180]PATTEMORE, Stephen. On The Relevance of Translation Theory. In: Review and Exhibitor . No.: 108, Spring 2011. P.267.

[181]ELICKER. Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[182]BRUM, Paulo César F. Interview for my dissertation . June 2015. (Communication via email).

[183]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).

[184]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[185]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).

[186]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[187]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[188]SCHMIDT, Marcos.. Interview for my dissertation . May 2015. (Communication via email).

[189]CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959.

[190]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).

[191]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[192]RIES, Walter Trescher Jr. Interview for my dissertation . May 2015. (Communication via email).

[193]BRUM, Paulo César F. Interview for my dissertation . June 2015. (Communication via email).

[194]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[195]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[196] WALTHER, CFW Law and Gospel . Porto Alegre: Concordia, 1998.

[197]PATTEMORE, Stephen. On The Relevance of Translation Theory . In: Review and Exhibitor . No.: 108, Spring 2011. p.268.

[198] Book of Concord . Arnaldo Schuler, trans. 4 ed. Porto Alegre, Sinodal/Concórdia, 1993, p.66.

[199]PENNINGTON, Chester. In: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.14

[200]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.29

[201]Id.Ibid, p.29

[202]ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.15

[203]FREEMAN, Harold. IN: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.144

[204]ID Ibid, p.60 On page 50, Jagnow had already defined his definition of creativity, which would be: a skill , an attitude and a process . And he tells pastor readers, “You are a creative person and you can improve your creativity.”

[205] RAMOS, Luiz Carlos. Homiletical Persuasion in the Middle Ages. Contemporary preaching and the mass media . Available at: http://www.metodista.br/ppc/caminhando/caminhando-15/caminhando-15/persuasao-homiletica-na-idade-midia-a-pregacao-contemporanea-e-os-meios-de-comunicacao -de-mass Accessed on May 26, 2015

[206]PRIETO, Ely. Communication skills for postmodern challenges . San Antonio; 2003, Work presented in the classroom for a graduate course., p.3

[207]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[208]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[209]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[210]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).

[211]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[212]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).

[213]GURGEL, Rich. A Lutheran Theology of Preaching . A brief essay to spark discussion originally prepared for the faculty of Wisconsin Lutheran Seminary presented with some minor changes for the National Conference on Worship, Music & the Arts Available at: https://connect.wels.net/AOM/ps/worship/ _layouts/mobile/mWord.aspx?doc=%2FAOM%2Fps%2Fworship%2F2008%20Conference%20Presentations%2FAlternate%20Styles%20of%20Preaching-Readings%2Edoc&s=1&source=%2FAOM%2Fps%2Fworship%2F_layouts%2Fmobile%2Fview% 2Easpx%3FList%3Da4b5726b-b798-478c-b70a-945df2b4ad19%26View%3D312ea540-3c72-4120-9428-8d8da2a9ec59%26CurrentPage%3D1&i=0 Accessed: 29 June 2015

[214] ROSIN, Robert. The medium shapes the message. In : Luther and communication: the use of the media in the proclamation of the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.37

[215]ROSIN, Robert. The medium shapes the message. In: Luther and Communication: The Use of the Media in Proclaiming the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.38

[216]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[217]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).

[218]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[219]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).

[220]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[221]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[222]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).

[223]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[224]KOLB, Robert. Communicating the Gospel Today . Translated by Dieter Joel Jagnow. Porto Alegre, Concordia, 2009, p.17.

[225] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.66

[226] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.66

[227]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).

[228]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[229]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).

[230]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[231]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[232]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).

[233]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[234]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[235]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.67

[236]ID Ibid, p.66

[237]KOLB, Robert. Communicating the Gospel Today . Translated by Dieter Joel Jagnow. Porto Alegre, Concordia, 2009, p.16.

[238]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.69

[239]KNOCHE, Gerald. In: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.69. Jagnow, on p.69-70, cites some measures suggested by Fred Craddock to remain especially creative in the use of language: - Remember the importance and power of words when reading Scripture and secular authors; - read 15 to 20 minutes daily and try to vary the type of reading; -every five or six weeks, review the sermons to assess how words and phrases were used; - try to see how people talk to each other in public places; - Talk to young children.

[240]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).

[241]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).

[242]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).

[243]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[244]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).

[245]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).

[246]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

[247]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[248]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).

[249]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[250]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).

[251]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].

[252]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).

 [253]BRUM, Paulo César F. Interview for my dissertation . June 2015. (Communication via email).

[254]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).

[255]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).

[256]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).

[257] ROSIN, Robert. The medium shapes the message. In: Luther and Communication: The Use of the Media in Proclaiming the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.42

[258]NUCCI, Tatiana Interview Master . March 2015. (Communication via email).