Religion Commons^™

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).

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 …

“It’S Not A Fucking Book, It’S A Weapon!”: Authority, Power, And Mediation In The Book Of Eli, Seth M. Walker

Journal of Religion & Film

The mediation of religious narratives through sacred texts is intimately bound to the power relations involved in their transmission and maintenance. Those who possess such mediated messages and control their access and interpretation have historically held privileged positions of authority, especially when those positions are not easily contested. The 2010 film The Book of Eli uniquely engages these elements by placing the alleged last copy of the King James Version of the Christian Bible at the forefront of a clash between different individuals in a post-nuclear wasteland. This paper, drawing on Max Weber’s notion of “charisma,” and scholars addressing religion, …

Zen Noir Vis-À-Vis Myers-Briggs Personality Typology: Semiotic Multivalency As Grounds For Dialog, Edward J. Godfrey

Journal of Religion & Film

Marc Rosenbush’s film, Zen Noir (2004) is at first glance a Buddhist film wherein a troubled detective finds himself at a Zen temple with a murder to solve. But upon further investigation, it becomes evident that the film can also be understood in terms of Myers-Briggs personality typology, which is an extension of the personology and depth psychology of C.G. Jung. This suggests a multivalency which allows the imagery of the film to be interpreted in two different ways; as both suggesting Zen enlightenment and Jungian individuation. To assist with this comparison, this paper introduces the Ten Ox-Herding Paintings of …

The Crimes Of Love. The (Un)Censored Version Of The Flood Story In Noah (2014), Wojciech Kosior

Journal of Religion & Film

A swift survey of Noah reviews clearly shows that the audience’s sensitivity was challenged in several regards; Noah was portrayed as a “religious extremist” and “borderline psychopath”, the Creator proved to be a “distant—unaware or uncaring—overseer”, while Aronofsky himself was said to have a “sinister purpose of leading people to believe that Christianity and Judaism are something they are not.” On closer examination, however, the above summarized pleas are not entirely relevant for two basic reasons. First, the movie consists of ideas that have been in use since antiquity, rearranged and composed into a new-old story and all the arguments …

Santería And Resistance In Tomás Gutierrez Alea And Juan Carlos Tabío’S Strawberry And Chocolate And In Fernando Pérez’S Life Is To Whistle, David S. Dalton

Journal of Religion & Film

The 1990s were a politically, socially, and economically turbulent decade for Cuba. It is neither surprising that it was during these years that the state amended its approach to religious freedom nor that it was during this time that Pope John Paul II made his historic visit to the island. Following the pontiff’s visit, the state amended the constitution and declared itself secular rather than Marxist, thus removing much of the stigma that believers had previously faced. In this article I analyze the relationship between the national cinema and religious freedom by showing that many Cuban directors challenged official constructs …

Indigenous Helpers And Renegade Invaders: Ambivalent Characters In Biblical And Cinematic Conquest Narratives, L. Daniel Hawk

Journal of Religion & Film

This article compares the role of ambiguous character types in the national narratives of biblical Israel and modern America, two nations that ground their identities in myths of conquest. The types embody the tensions and ambivalence conquest myths generate by combining the invader/indigenous binary in complementary ways. The Indigenous Helper assists the invaders and signifies the land’s acquiescence to conquest. The Renegade Invader identifies with the indigenous peoples and manifests anxiety about the threat of indigenous difference. A discussion of these types in the book of Joshua, through the stories of Rahab and Achan, establishes a point of reference by …

Risen, Katie Turner

Journal of Religion & Film

This is a film review of Risen (2016), directed by Kevin Reynolds.

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.

The Patriarch (Mahana), Ken Derry

Journal of Religion & Film

This is a film review of The Patriarch (2016), directed by Lee Tamahori.

Six Ways Of Looking At Anomalisa, David L. Smith

Journal of Religion & Film

Anomalisa is a parable about the nature of human fulfilment that explores the tension between other-worldly desire (the conviction that real life must be “elsewhere”) and the kind of fulfilment that comes from a more transparent relationship to things as they are. The film explores this religious theme not only through its story, but through the way the story comments on its own embodiment as a puppet show—a work of stop-motion animation. In this paper, I try to tease out the film’s complex reflections on the real and the artificial (in particular, on the ways that a desire for “the …

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 …

From Marseille To Mecca: Reconciling The Secular And The Religious In Le Grand Voyage (The Big Trip) (2004), Yahya Laayouni

Journal of Religion & Film

By the early 1980’s, a generation of children of Maghrebi (North African) parents born and/or raised in France started to become more visible, particularly after they organized a march in 1983 from Marseille to Paris under the slogan “For Equality and against Racism.” This generation was introduced to the public as the “Beur generation.” The word ‘Beur,’ coined by this generation, is the result of a Parisian back slang and means ‘Arab.’ It quickly gained popularity and has been used to refer to children of Maghrebi origins living in France. As much as it has been hard for the Beurs …

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 …

Fetish, Sacrifice And Tragic Freedom In The Dardenne Brothers' La Promesse, Andrew Small

Journal of Religion & Film

Fetish, Sacrifice and Tragic Freedom and in the Dardenne Brothers’ La Promesse

(Abstract)

The purpose of this article is to begin drawing attention to the strong likelihood that Freud’s Totem and Taboo (1913) contributed important ideas to the creation of La Promesse (1996) by Luc and Jean-Pierre Dardenne. In the current article, we take note of just two of its most important aspects: animism, and the childlike recurrence of totemism. In La Promesse, these concepts are elaborated in relationship to a small African statue present in the home of the West African illegal immigrants, Assita and Hamidou. The sculpture …

“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, 12^th-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 …

Suffering And Soul-Making In Disney/Pixar’S Inside Out, Bertha A. Manninen Ph.D.

Journal of Religion & Film

John Hick (1922-2012) was an extremely influential philosopher of religion who wrote ground-breaking essays in the areas of religious epistemology, religious pluralism, and the problem of evil. With specific reference to the latter, in his book Evil and the God of Love(1966), Hick devised what has come to be known as the “soul-making theodicy” – in essence, Hick argues that one of the reasons God allows so much apparently pointless suffering in the world is because it is an essential aspect of advancing our moral and spiritual education.

Although perhaps an unlikely venue, I will argue that Disney/Pixar’s 2015 …

The Eyes Have It: Film, Editing, And Postmodern Theological Hermeneutics, James M. Hansen Mr.

Journal of Religion & Film

This article attempts to show the fruitful dialogue which exists when one cross-pollinates hermeneutics and the task of film editing. Though seemingly unrelated, their engagement is a rich collaboration that brings a deeper appreciation for the cinematic process as well as an alternative way of looking at the interpretive process as it relates to Scripture. This article traces the history of and approaches to cinematic editing in hopes that it might provide a significant interlocutor to the burgeoning field of hermeneutical studies.

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 …

Seeing The Light, Hearing The Call: Women Religious As Spectators And Subjects Of Popular Nun Films, Maureen A. Sabine Professor

Journal of Religion & Film

Though popular films like The Bells of St. Mary’s (1945), Heaven Knows, Mr. Allison (1957), The Nun’s Story (1959), and The Sound of Music (1965) have routinely been criticized for circulating polarized stereotypes about nuns, convent memoirs indicate that some women felt the stirrings of a religious vocation from watching these movies. This article arose out of interest in whether other women heard God’s call through nun films, and is based on a survey of 86 sisters from 28 different communities who had entered the convent between 1947 and 2007, and were prepared to discuss what they saw in these …