Religious Education Commons^™

Prayer: A History. By Philip Zaleski And Carol Zaleski, Patrick Q. Mason

BYU Studies Quarterly

Philip Zaleski and Carol Zaleski. Prayer: A History. New York: Houghton Mifflin, 2005

The American Discovery Of Europe. Jack D. Forbes, John L. Sorenson

BYU Studies Quarterly

Jack D. Forbes. The American Discovery of Europe. Urbana and Chicago: University of Illinois Press, 2007

Book Notices, Doris R. Dant, Carl Cranny, Steven C. Harper, J. Michael Hunter, John M. Murphy, Saul A. Speirs, Jennifer Hurlbut

BYU Studies Quarterly

No abstract provided.

Define Universe And Give Two Examples: A Comparison Of Scientific And Christian Belief. By Barton E. Dahneke, Noel L. Owen

BYU Studies Quarterly

Barton E. Dahneke. Define Universe and Give Two Examples: A Comparison of Scientific and Christian Belief. Palmyra, N.Y.: BDS Publications, 2006.

Full Issue, Byu Studies

BYU Studies Quarterly

No abstract provided.

The Fifth Wave: Cultural And Commercial Viability (2000-Present), Randy Astle, Gideon O. Burton

BYU Studies Quarterly

The Fifth Wave of Mormon cinema is the current period, in which a culturally robust and commercially vibrant new art form is beginning to emerge. Its most obvious manifestation is in the stream of Mormon-themed theatrical feature films, produced independently of the Church, made by and for Latter-day Saints. Richard Dutcher’s much-celebrated God’s Army, released in March 2000, made him widely recognized as the father of this new movement in Mormon film, but his groundbreaking work actually marks a return to the past. The LDS filmmakers of the First Wave also sought to create 35mm films to be distributed …

The Mormons. Produced By Helen Whitney., Brian Q. Cannon, Mario S. De-Pillis, Richard E. Bennett

BYU Studies Quarterly

The Mormons. Produced by Helen Whitney. Melbourne, Fla.: PBS Video, 2007

The Third Wave: Judge Whitaker And The Classical Era (1953-1974), Randy Astle, Gideon O. Burton

BYU Studies Quarterly

The Third Wave of Mormon cinema is unquestionably the age of Judge Whitaker. He represents the development of Mormon film from its pioneer infancy into classical maturity. The similarities to Hollywood’s classical era are numerous (with important exceptions). Most obviously, Mormon film finally left behind the multitasking artisanal mode of prior decades in favor of a studio-based industrial infrastructure featuring specialized workers. Equally important, the BYU studio produced films of an identifiable, consistent, and aesthetically and culturally conservative style deeply rooted in Hollywood norms. It supplied a steady stream of products to a vertically integrated distribution and exhibition network. Finally, …

Seeking After The Good In Art, Drama, Film, And Literature, Travis T. Anderson

BYU Studies Quarterly

Not long ago, kids in tow, I burst in unannounced on my parents and found them absorbed in some ubiquitous TV sitcom. While we peeled off our coats and the kids started chasing each other around the house, I jokingly chided my mom for wasting her time on such mindless drivel. In reply, she playfully denounced my elitist taste and defended her show as “good, wholesome entertainment.” Well, it may indeed have been entertaining. And being a show that originally aired back in the early eighties and even then was aimed at an older demographic, it was relatively free of …

Establishing Shot: The Scope Of Mormon Cinema, Gideon O. Burton

BYU Studies Quarterly

Gideon O. Burton introduces the special issue dedicated to Mormon cinema by giving a brief overview of the other articles appearing in the issue and clarifying what Mormon cinema is: any film made by or about Mormons, from Church-produced movies used for teaching and training to YouTube segments; from student-made films to theatrically released movies. He also discusses the importance of film criticism in creating a quality Mormon cinema tradition.

A History Of Mormon Cinema, Randy Astle, Gideon O. Burton

BYU Studies Quarterly

LDS Church members who heralded Richard Dutcher's 2000 film, God's Army, as the first Mormon movie may not have known about similar public sentiments expressed about previous landmark Mormon movies, like the 1940 motion picture Brigham Young. The history of Mormon cinema stretches back to the early 1900s and is divided into five "waves." The authors examine the waves in detail, discussing each era's Church-made films, Mormon-themed films made by independent filmmakers, mainstream films made by Latter-day Saints, and films that depicted Mormons—accurately or not. The authors also touch on developing trends in how film is made, criticized, …

The First Wave: The Clawson Brothers And The New Frontier (1905-1929), Randy Astle, Gideon O. Burton

BYU Studies Quarterly

In calling this era the new frontier, there is some danger of forgetting the large industrial organizations that supported film’s early pioneers. The analogy, however, is of some use here not only because of Utah’s recent pioneer past at the turn of the century—only a generation removed—but primarily because of the proud, isolationist stance LDS filmmakers were forced to assume in response to the mainstream industry’s attacks on their religion. With no political redress or recourse to non-Mormon allies, the Latter-day Saints were left to their own devices to depict what they saw as the glories of their scriptures, forebears, …

The Fourth Wave: The Mass Media Era (1974-2000), Randy Astle, Gideon O. Burton

BYU Studies Quarterly

The Fourth Wave deserves to be known as the Mass Media Era for at least three reasons. First, it was the first period dominated by video technology and various media besides traditional film; though I shall continue to use the term filmmaking, the majority of productions were now distributed electronically, even if they did not originate that way. Second, because of electronic distribution and the inexpensiveness and ubiquity of video, this era was marked by an incredibly wide dissemination of film compared with previous eras. Television, VHS, and satellite broadcasts revolutionized distribution by making obsolete the exhibition of an …

The Mormon As Vampire: A Comparative Study Of Winifred Graham's The Love Story Of A Mormon, The Film Trapped By The Mormons, And Bram Stoker's Dracula, James V. D'Arc

BYU Studies Quarterly

Between 1911 and 1926, novels and films fueled anti-Mormon sentiment in Great Britain. Winifred Graham's novel The Love Story of a Mormon portrayed a mesmerizing polygamist deceiving and enslaving girls. Later, Graham's book was made into the film Trapped by the Mormons. Both the novel and the movie drew images from vampire lore made popular by Bram Stoker's Dracula. The Mormon villain in Trapped by the Mormons has come from a faraway land, promises the possibility of eternal life, and can mesmerize victims, like Count Dracula. Though sensationalistic, the film colored British audience's perceptions of Mormon missionaries as …

"There Is Room For Both": Mormon Cinema And The Paradoxes Of Mormon Culture, Terryl L. Givens

BYU Studies Quarterly

Sometimes a culture includes more tension than harmonious cohesion, often due to paradoxes within the culture. Such tensions provide material for artists of all kinds to explore in their works. Mormonism presents at least three paradoxes: first, the necessity to be certain in one's testimony but to also always be asking questions in search of further truth; second, the tendency to diminish the distance between the sacred and banal; and third, the desire to be a peculiar, chosen people but not to feel isolated. Terryl L. Givens discusses the treatment of these paradoxes in Mormon movies, particularly those made by …

Finding An Audience, Paying The Bills: Competing Business Models In Mormon Cinema, Eric Samuelsen

BYU Studies Quarterly

The Hollywood business model most filmmakers employ involves both a production company and a film studio. The two entities make a deal, and the production company shoots the movie before the studio promotes and sells the movie. Hence, films that don't attract the support of a studio often can't be advertised and distributed as widely. In many cases, the movies can't even be made without a studio's financial backing. In the Mormon film industry, some filmmakers have employed the usual Hollywood business model. Others have created their own studios to market their films, like Halestorm, and some filmmakers bypass the …

Active Spectatorship: Spiritual Dimensions Of Film, Sharon Swenson

BYU Studies Quarterly

Menacing music signals something ominous. My three-year-old grandson, Gavin, looks up at me, and we hug each other closer under the quilt, shivering in anticipation. In the background is . . . something . . . and it’s getting closer and closer. What seemed like something small and close by is really something large and far away and getting closer by the second. Squeeze tighter; Gavin glances up at me and giggles, but I remain serious and calm, preparing for whatever might come. It’s a whale! Zooming toward us!

A Manifesto For "Fit For The Kingdom": Dean Duncan's Proposal For A Mormon Documentary Series, Gideon O. Burton

BYU Studies Quarterly

Developments in Mormon cinema in the last few years have taken place not only with popular narrative feature films intended for theatrical exhibition. Independently produced documentary film, which actually has a stronger tradition within Mormonism, has also been growing. One group, a coalition of Brigham Young University faculty and students and independent filmmakers led by Dean Duncan of BYU’s Theatre and Media Arts Department, has been creating a series of documentary films entitled “Fit for the Kingdom.”

New York Doll. Directed By Greg Whiteley., Nathan Richardson

BYU Studies Quarterly

New York Doll. Directed by Greg Whiteley. One Potato Productions, 2005

Toward A Mormon Cinematic Aesthetic: Film Styles In Legacy, Thomas J. Lefler, Gideon O. Burton

BYU Studies Quarterly

Latter-day Saints aspire to movies that enhance, rather than undermine, their spiritual lives and that respect their religious convictions. However, discussion among Mormons about film tends to focus primarily on content—the presence of inappropriate content or the desire for more family-friendly subjects. Mormons are not alone in looking to film as a way of powerfully presenting religious themes and ideas. Biblical films, for example, have been a staple from the beginning of motion pictures. However, a film’s content is not its only religious dimension. Many films that portray ostensibly religious subjects, argues film theorist Michael Bird, “have too often erred …

Angie. Produced By The Tom Russell Family., Randy Astle

BYU Studies Quarterly

Angie. Produced by the Tom Russell family. Fit for the Kingdom, 2006

The Sixth Annual Lds Film Festival, January 17-20, 2007, Candy Eash

BYU Studies Quarterly

The Sixth Annual LDS Film Festival, January 17–20, 2007. SCERA Center for the Arts, Orem, Utah

Full Issue, Byu Studies

BYU Studies Quarterly

No abstract provided.

The Second Wave: Home Cinema (1929-1953), Randy Astle, Gideon O. Burton

BYU Studies Quarterly

The Second Wave differed from the First in various respects. For instance, by the 1930s the global film industry was well past its primitive pioneer era, and, within Mormonism, the increased sophistication of Second Wave films reflects this progress. In addition, technical advances (principally sound, but also color) renewed enthusiasm about the medium, both generally and among the Latter-day Saints. While this optimism did propel institutional and independent Mormon filmmaking toward some major projects, the decade of the 1930s—and to a lesser extent the 1940s— has generally been described for its lack of Mormon film production. Such a perception, however, …

2007 Perihelion - Oru Yearbook, Holy Spirit Research Center Oru Library

Perihelion: ORU Yearbooks

The Oral Roberts University Student Yearbook, the Perihelion, is produced by ORU Media and Communications department.

The images and files are copyrighted to Oral Roberts University and cannot be reproduced in any form without permission from ORU administration.

2007 Morehead First Christian Church Echo Newsletter, First Christian Church Echo (Morehead, Ky.)

Morehead First Christian Church Newsletter Archive

Morehead First Christian Church Echo Newsletter from 2007.

Whose Bible Is It? A History Of The Scriptures Through The Ages. By Jaroslav Pelikan, Gary P. Gillum

BYU Studies Quarterly

Jaroslav Pelikan. Whose Bible Is It? A History of the Scriptures through the Ages. London: Viking Penguin, 2005

Luggage For One Leaving, Dixie L. Partridge

BYU Studies Quarterly

No abstract provided.

The Bible In English: Its History And Influence. By David Daniell, Richard Y. Duerden

BYU Studies Quarterly

David Daniell. The Bible in English: Its History and Influence. New Haven and London: Yale University Press, 2003

Pandemonium: A Review Essay Of Douglas J. Robinson, Who Translates? Translator Subjectivities Beyond Reason, Daryl R. Hague

BYU Studies Quarterly

In 1975, Cambridge’s George Steiner published After Babel. That book, now in its third edition, is considered a classic for several reasons. For translation scholars, however, After Babel’s principal contribution is that it legitimized translation studies as a discrete academic field rather than as a mere appendage to comparative literature, linguistics, or language studies. Shortly after Steiner’s work was published, two other influential works on translation appeared: Louis Kelly’s The True Interpreter (1979) and Susan Bassnett-McGuire’s Translation Studies (1980). Together, these three works provided a historical and theoretical foundation on which translation scholars could build.