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Full-Text Articles in Arts and Humanities
Islam, Immigrants, And The Angry Young Man: Laurent Cantet And The “Limits Of Fabricated Realism”, Elizabeth Toohey
Islam, Immigrants, And The Angry Young Man: Laurent Cantet And The “Limits Of Fabricated Realism”, Elizabeth Toohey
Journal of Religion & Film
My paper juxtaposes Laurent Cantet’s films The Class (2008) and The Workshop (2017) to explore how they are infused with concerns about radical Islam and the place of Muslim immigrants in the West. Both films center on "angry young men" facing class-based marginalization, who are prone to anti-social behavior. In The Workshop, however, a great effort is made to reveal the intellectual potential and moral complexity of the young white French-born Antoine, whose alienation is defined by his attraction to the xenophobic and Islamophobic rhetoric of the Far Right, whereas viewers of The Class are kept at arm’s length …
Fixing Ground Zero: Race And Religion In Francis Lawrence’S I Am Legend, Michael E. Heyes
Fixing Ground Zero: Race And Religion In Francis Lawrence’S I Am Legend, Michael E. Heyes
Journal of Religion & Film
Francis Lawrence’s I Am Legend is a complex intertext of Matheson’s novel of the same name and its two previous film adaptations. While the film attempts to depict racism as monstrous, the frequent invocation of 9/11 imagery and Christian symbolism throughout the film recodes the vampiric dark-seekers as radical Islamic terrorists. This serves to further enshrine an us/Christians vs. them/Muslim dichotomy present in post-9/11 America, a dichotomy that the film presents as “curable” through the spread of Christianity and the fall of Islam.
You’Ve Gotta Keep The Faith: Making Sense Of Disaster In Post 9/11 Apocalyptic Cinema, Matthew Leggatt
You’Ve Gotta Keep The Faith: Making Sense Of Disaster In Post 9/11 Apocalyptic Cinema, Matthew Leggatt
Journal of Religion & Film
Abstract: Chronologically examining the role of faith based narratives in the Hollywood apocalypse since the mid-90s, this article charts their reintroduction in the period after 9/11. Through the study of an extensive array of contemporary films the different structures of faith they offer and an exploration of how such faith is used in order to make meaning from disaster, I assert that post 9/11 apocalyptic movies have grappled with issues of faith and meaning in a far more complex way than in the films of the 90s, questioning the value of such faith in a post-disaster world. In concluding, I …