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Articles 571 - 600 of 619
Full-Text Articles in Arts and Humanities
Where I Am, William L. Blizek
Where I Am, William L. Blizek
Journal of Religion & Film
This is a film review of Where I Am (2013) directed by Pamela Drynan.
The Gatekeepers, William L. Blizek
The Gatekeepers, William L. Blizek
Journal of Religion & Film
This is a film review of The Gatekeepers (2013) directed by Dror Moreh.
When I Walk, Jeanette Reedy Solano
When I Walk, Jeanette Reedy Solano
Journal of Religion & Film
This is a film review of When I Walk (2013) directed by Jason DaSilva.
C.O.G., Jeanette Reedy Solano
C.O.G., Jeanette Reedy Solano
Journal of Religion & Film
This is a film review of C.O.G. (2013) directed by Kyle Patrick Alvarez.
Who Is Dayani Cristal?, Jeanette Reedy Solano
Who Is Dayani Cristal?, Jeanette Reedy Solano
Journal of Religion & Film
This is a film review of Who is Dayani Cristal? (2013) directed by Marc Silver.
Bible Quiz, Dereck Daschke
Bible Quiz, Dereck Daschke
Journal of Religion & Film
This is a film review of Bible Quiz (2013) directed by Nicole Teeny.
The Institute, Dereck Daschke
The Institute, Dereck Daschke
Journal of Religion & Film
This is a film review of The Institute (2013) directed by Spencer McCall.
Virtually Heroes, Dereck Daschke
Virtually Heroes, Dereck Daschke
Journal of Religion & Film
This is a film review of Virtually Heroes (2013) directed by G. J. Echternkamp.
After Tiller, Dereck Daschke
After Tiller, Dereck Daschke
Journal of Religion & Film
This is a film review of After Tiller (2013) directed by Martha Shane and Lana Wilson.
Interior. Leather Bar., Dereck Daschke
Interior. Leather Bar., Dereck Daschke
Journal of Religion & Film
This is a film review of Interior. Leather Bar. (2013) directed by Travis Mathews and James Franco.
This Is Martin Bonner, Jeanette Reedy Solano
This Is Martin Bonner, Jeanette Reedy Solano
Journal of Religion & Film
This is a film review of This is Martin Bonner (2013) directed by Chad Hartigan.
Jug Face, William L. Blizek
Jug Face, William L. Blizek
Journal of Religion & Film
This is a film of Jug Face (2013) directed by Chad Crawford Kinkle.
Fall To Grace, John C. Lyden
Fall To Grace, John C. Lyden
Journal of Religion & Film
This is a film review of Fall to Grace (2013) directed by Alexandra Pelosi.
Touchy Feely, William L. Blizek
Touchy Feely, William L. Blizek
Journal of Religion & Film
This is a film review of Touchy Feely (2013) directed by Lynn Shelton.
Wajma (An Afghan Love Story), Dereck Daschke
Wajma (An Afghan Love Story), Dereck Daschke
Journal of Religion & Film
This is a film review of Wajma (An Afghan Love Story) (2013) directed by Barmak Akram.
There Will Come A Day, Dereck Daschke
There Will Come A Day, Dereck Daschke
Journal of Religion & Film
This is a film review of There Will Come a Day (2013) directed by Giorgio Diritti.
Il Futuro (The Future), Dereck Daschke
Il Futuro (The Future), Dereck Daschke
Journal of Religion & Film
This is a film review of Il Futuro (The Future) (2013) directed by Alicia Scherson.
Good Karma $1, Dereck Daschke
Good Karma $1, Dereck Daschke
Journal of Religion & Film
This is a film review of Good Karma $1 (2013) directed by Amy Laslett and Jason Berger.
God Loves Uganda, John C. Lyden
God Loves Uganda, John C. Lyden
Journal of Religion & Film
This is a film review of God Loves Uganda (2013) directed by Roger Ross Williams.
Soldate Jeanette, John C. Lyden
Soldate Jeanette, John C. Lyden
Journal of Religion & Film
This is a film review of Soldate Jeanette (2013) directed by Daniel Hoesl.
Salma, John C. Lyden
Salma, John C. Lyden
Journal of Religion & Film
This is a film review of Salma (2013) directed by Kim Longinotto.
Fill The Void, John C. Lyden
Fill The Void, John C. Lyden
Journal of Religion & Film
This is a film review of Fill the Void (2012) directed by Rama Burshtein.
The Bitter Buddha, William L. Blizek
The Bitter Buddha, William L. Blizek
Journal of Religion & Film
This is a film review of The Bitter Buddha (2013) directed by Steven Feinartz.
Babette's Feast And The Goodness Of God, Thomas J. Curry
Babette's Feast And The Goodness Of God, Thomas J. Curry
Journal of Religion & Film
This article attempts to answer the preeminent question Babette’s Feast invites viewers to consider: Why does Babette choose to expend everything she has to make her feast? Of the critical studies made of the film, few have considered analytically crucial the catastrophic backstory of Babette, the violence of which is implied and offscreen. Appreciation of the singularity of Babette’s own personhood and the darker aspects of her experience, and not only how she might act as a figure of Christ, are key to understanding the motivating force behind her meal and its transformative effect: That through the feast Babette lays …
Whale Rider: The Re-Enactment Of Myth And The Empowerment Of Women, Kevin V. Dodd
Whale Rider: The Re-Enactment Of Myth And The Empowerment Of Women, Kevin V. Dodd
Journal of Religion & Film
Whale Rider represents a particular type of mythic film that includes within it references to an ancient sacred story and is itself a contemporary recapitulation of it. The movie also belongs to a further subcategory of mythic cinema, using the double citation of the myth—in its original form and its re-enactment—to critique the subordinate position of women to men in the narrated world. To do this, the myth is extended beyond its traditional scope and context. After looking at how the movie embeds the story and recapitulates it, this paper examines the film’s reception. To consider the variety of positions …
Framing Salvation: Biblical Apocalyptic, Cinematic Dystopia, And Contextualizing The Narrative Of Salvation, Caesar A. Montevecchio
Framing Salvation: Biblical Apocalyptic, Cinematic Dystopia, And Contextualizing The Narrative Of Salvation, Caesar A. Montevecchio
Journal of Religion & Film
Christian biblical authors used the apocalyptic genre to help contextualize the meaning of salvation for their audiences. Today, dystopian film can serve a similar function. In each case, the narrative diagnoses a sinister mis-ordering of human civilization and attempts to prescribe ways in which it can be overcome. Just as apocalyptic gave biblical authors the ability to make statements about what salvation was salvation from, dystopian narratives can similarly demonstrate what social conditions today remain in need of remediation. When these dystopian narratives do so by making use of symbols and themes associated with Christian soteriology their diagnoses can become …
The Transformation Of The Pope: The Agony And The Ecstasy (1965) And The Second Vatican Council (1962-65), Jennifer Mara Desilva
The Transformation Of The Pope: The Agony And The Ecstasy (1965) And The Second Vatican Council (1962-65), Jennifer Mara Desilva
Journal of Religion & Film
In 1965 the film The Agony and The Ecstasy (dir. Carol Reed) presented Renaissance artistic culture, Catholic iconography, and the papal court in Rome to a popular, broad, and non-denominational audience. Based on the novel by Irving Stone (1961), the narrative follows Michelangelo and Pope Julius II through the decoration of the Sistine chapel ceiling (1508-12), outlining a relationship between the two protagonists that suggests some spiritual equality. In the same way that the Second Vatican Council (1962-65) strove for spiritual renewal and an emphasis on the wonder of humankind’s relationship with God, The Agony and The Ecstasy portrays the …
"Everything's Going To Be Ok:" Source Code And The Dramas Of Desire, David L. Smith
"Everything's Going To Be Ok:" Source Code And The Dramas Of Desire, David L. Smith
Journal of Religion & Film
Source Code (Duncan Jones, 2011) is a science fiction film concerned with an ambiguity at the heart of religion and its ideas about the meaning of life. It interrogates the kitsch-phrase "everything's going to be OK" to uncover two distinct ideas of heroism, or of how life acquires meaning. One is keyed to narratives of attainment. The other stresses the immediacy or immanence of meaning in our present conditions. The film enacts the tension between these paradigms in ways that parallel cases from Christianity and Buddhism. It explores what remains of religious hope when its literal sense is exposed as …
Melodrama On A Mission: Latter-Day Saint Film And The Melodramatic Mode, Airen Hall
Melodrama On A Mission: Latter-Day Saint Film And The Melodramatic Mode, Airen Hall
Journal of Religion & Film
This article examines how the Church of Jesus Christ of Latter-day Saints (the Mormon Church) makes use of the melodramatic mode in creating short and feature length films for both insider and outsider consumption. The argument is made that the melodramatic mode gives the LDS Church a particularly meaningful tool for accomplishing three key goals: to encourage conversion or re-conversion by provoking tears and pathos, to work out social issues, and to create and maintain a certain identity for the Church as victim-hero. As such, the melodramatic mode is a means for identity formation and community building, significant in a …
Hitchcock And The Scapegoat: Violence And Victimization In The Wrong Man, David Humbert
Hitchcock And The Scapegoat: Violence And Victimization In The Wrong Man, David Humbert
Journal of Religion & Film
Alfred Hitchcock’s The Wrong Man tells the story of Emmanuel Balestrero, arrested for a crime committed by his physical double. This paper examines the theme of the scapegoat in the film and argues that it portrays in miniature what theorist René Girard has described as a mimetic crisis. While the plight of the central character is usually portrayed as a product of blind chance, it is instead due to the mimetic fears, desires, and vanities of the members of society that accuse him. The fate of Balestrero reveals the operation of a specific kind of scapegoat mechanism that has its …