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Christianity

University of Nebraska at Omaha

2016

Articles 1 - 6 of 6

Full-Text Articles in Arts and Humanities

Screen Jesus: Portrayals Of Christ In Television And Film, Steven Vredenburgh Oct 2016

Screen Jesus: Portrayals Of Christ In Television And Film, Steven Vredenburgh

Journal of Religion & Film

This is a book review of Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Boulder, CO: Roman & Littlefield, 2012).

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Gimme Danger; Leehom Wang's Open Fire Concert Film, Ken Derry Oct 2016

Gimme Danger; Leehom Wang's Open Fire Concert Film, Ken Derry

Journal of Religion & Film

This is a comparative film review of Gimme Danger (2016), directed by Jim Jarmusch, and Leehom Wang's Open Fire Concert Film (2016), directed by Homeboy Music, Inc.

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Rejecting The Ethnic Community In Little Caesar, The Public Enemy, And Scarface, Bryan Mead Apr 2016

Rejecting The Ethnic Community In Little Caesar, The Public Enemy, And Scarface, Bryan Mead

Journal of Religion & Film

Film scholars commonly suggest that the 1930s American movie gangster represented marginalized Italian and Irish-American film-goers, and that these gangsters provided a visual and aural outlet for ethnic audience frustrations with American societal mores. However, while movie gangsters clearly struggle with WASP society, the ethnic gangster’s struggle against his own community deserves further exploration. The main characters in gangster films of the early 1930s repeatedly forge an individualistic identity and, in consequence, separate themselves from their ethnic peers and their family, two major symbols of their communal culture. This rejection of community is also a rejection of the distinctly Italian …

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Dr. King And The Image Of God: A Theology Of Voting Rights In Ava Duvernay's Selma, Marcos Norris Apr 2016

Dr. King And The Image Of God: A Theology Of Voting Rights In Ava Duvernay's Selma, Marcos Norris

Journal of Religion & Film

This article argues that Ava DuVernay’s 2014 film Selma develops a theology of voting rights by staging a conflict between President Lyndon B. Johnson and political activist Martin Luther King, Jr. Though many reviewers fault the film for its besmirching portrayal of LBJ, DuVernay’s (mis)representations of Johnson establish a link between the Voting Rights Act of 1964 and King’s theological anthropology. In King’s view, mankind was created in the image of God, endowed with free will and the capacity to reason. The denial of Black voting rights, while literally depriving African Americans of their political agency, also represented the disavowal …

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“He Who Kills The Body, Kills The Soul That Inhabits It”: Feminist Filmmaking, Religion, And Spiritual Identification In Vision, Carl Laamanen Apr 2016

“He Who Kills The Body, Kills The Soul That Inhabits It”: Feminist Filmmaking, Religion, And Spiritual Identification In Vision, Carl Laamanen

Journal of Religion & Film

In this article, I argue that the 2009 film, Vision: From the Life of Hildegard of Bingen, presents an example of feminist filmmaking that seeks to draw viewers into spiritual identification with the protagonist, 12th-century mystic Hildegard, through its narrative and formal techniques, encouraging the audience to share in Hildegard’s visionary experiences. The film does so in an explicitly feminist way, drawing upon unconventional visual and sonic aesthetics to highlight the power and authority of Hildegard’s spiritual experiences. In particular, Vision’s use of music and sound points toward a conception of feminine spirituality that values the …

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The Roles Of Violence In Recent Biblical Cinema: The Passion, Noah, And Exodus: Gods And Kings, Kevin M. Mcgeough Apr 2016

The Roles Of Violence In Recent Biblical Cinema: The Passion, Noah, And Exodus: Gods And Kings, Kevin M. Mcgeough

Journal of Religion & Film

When The Passion was released, its extremely graphic violence horrified critics and scholars of religion although its success at the box office indicates that this, if anything, made the story of Jesus more appealing for viewers. Now that more time has passed and expectations surrounding levels of acceptable violence in cinema have changed, it is worth reconsidering how cinematic violence is used as reception strategy in Biblical cinema. Considering The Passion with more recent Biblical films, Noah and Exodus: Gods and Kings, it becomes apparent that violence is not only used to expand laconic Biblical narratives but to invest …

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