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Full-Text Articles in Arts and Humanities
Eindis Ends It All, William L. Blizek, Monica Blizek
Eindis Ends It All, William L. Blizek, Monica Blizek
Journal of Religion & Film
This is a film review of Eindis Ends It All (2022), directed by Tamara Rosenfeld.
Aum: The Cult At The End Of The World, Dereck Daschke
Aum: The Cult At The End Of The World, Dereck Daschke
Journal of Religion & Film
This is a film review of AUM: The Cult at the End of the World (2023), directed by Ben Braun and Chiaki Yanagimoto.
Seeing And Interpreting Visions Of The Next Age In Interstellar, Nancy Wright
Seeing And Interpreting Visions Of The Next Age In Interstellar, Nancy Wright
Journal of Religion & Film
Christopher Nolan’s Interstellar (2014) uses multiple styles of cinematography – documentary, painterly and expressionistic – to guide interpretation of its apocalyptic review of history. Within the prologue and epilogue of the science fiction film, clips from interviews originally filmed for Ken Burns’s The Dust Bowl (2012) invite questions about how to interpret documentary, revisionist and eschatological reviews of history. Cinematography functions as a self-reflexive cue to spectators within and outside the mise-en-scène to engage in eschatological interpretation. The representation of spectatorship and vision reveals the challenge of interpreting prophetic visions of the last things and the next age, which are …
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Journal of Religion & Film
John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène.
Les Affamés, J. Barton Scott
Les Affamés, J. Barton Scott
Journal of Religion & Film
This is a film review of Les Affamés, directed by Robin Aubert.
Verdens Undergang (1916) And The Birth Of Apocalyptic Film: Antecedents And Causative Forces, Wynn Gerald Hamonic
Verdens Undergang (1916) And The Birth Of Apocalyptic Film: Antecedents And Causative Forces, Wynn Gerald Hamonic
Journal of Religion & Film
This essay describes the antecedents and causative forces giving rise to the birth of apocalyptic cinema in the early 20th Century and the first apocalyptic feature, Verdens Undergang (1916). Apocalyptic cinema's roots can be traced back to apocalyptic literary tradition beginning 200 BCE, New Testament apocalyptic writings, the rise of premillenialism in the mid-19th Century, 19th century apocalyptic fiction, a growing distrust in human self-determination, escalating wars and tragedies from 1880 to 1912 reaching a larger audience through a burgeoning press, horrors and disillusionment caused by the First World War, a growing belief in a dystopian future, and changes in …