Film and Media Studies Commons^™

Man In Motion: The Rick Hansen Story, Sherry Coman

Journal of Religion & Film

This is a film review of Man in Motion: The Rick Hansen Story (2026), directed by Adrian Buitenhuis.

Idda, Sherry Coman

Journal of Religion & Film

This is a film review of Idda (2026), directed by Irene Dionisio.

What Film Is Good For: On The Values Of Spectatorship, Pablo Alzola

Journal of Religion & Film

This is a book review of Julian Hanich and Martin P. Rossouw, eds., What Film Is Good For: On the Values of Spectatorship (Oakland, CA: University of California Press, 2023).

Hollywood And The Nazis On The Eve Of War: The Case Of The Mortal Storm, Rachel Gordan

Journal of Religion & Film

This is a book review of Alexis Pogorelskin, Hollywood and the Nazis on the Eve of War: The Case of The Mortal Storm (Bloomsbury Academic, 2024).

Shoah: Bfi Film Classics, Matthew Page

Journal of Religion & Film

This is a book review of Sue Vice, Shoah: BFI Film Classics (BFI/Bloomsbury, 2026).

A Poetic History: Islamic And Japanese Parallels In Film, Joshua Polanski

Journal of Religion & Film

This is a book review of David Sander, A Poetic History: Islamic and Japanese Parallels in Film (Bloomsbury, 2026).

Cloud: Between Paris And Tehran: Kiarostami/Corbin/Lacan, Heba Arafa Abdelfattah

Journal of Religion & Film

This is a book review of Joan Copjec, Cloud: Between Paris and Tehran: Kiarostami/Corbin/Lacan (MIT Press, 2025).

Eternity, Leah R. Sisk

Journal of Religion & Film

This film review of Eternity was developed from an essay on how the film demonstrates the nature of choice, including William James's notion of a leap of faith.  The original essay was submitted for an undergraduate Philosophy and Religion class on American Pragmatism at Western Carolina University.

Disclosure Day, Christian Wilken

Journal of Religion & Film

This is a film review of Disclosure Day (2026), directed by Steven Spielberg.

Nothing Is As It Should Be: Estrangement, Threshold-Crossings, And Cosmic Struggle In David Lynch’S Blue Velvet And Lost Highway, Susanne Wigorts Yngvesson

Journal of Religion & Film

This article examines estrangement as a structuring existential and aesthetic principle in David Lynch’s Blue Velvet (1986) and Lost Highway (1997). Through close, plot-attentive readings intended to remain accessible to readers unfamiliar with Lynch, it argues that the films stage three interlocking dynamics: becoming a stranger to oneself, the fracturing of the ‘ground’ of ordinary existence, and life as a cosmic struggle in which human agency is partial and contested. Paul Tillich’s The Courage to Be provides the main theological–philosophical lens, clarifying how anxiety, non-being and courage shape scenes of desire, violence and transformation. Film-theoretical work on thresholds and cinematic …

Unidentified, Candace Mixon

Journal of Religion & Film

This is a film review of Unidentified (2026), directed by Haifaa al-Mansour.

No Place For Us: The Scapegoat Mechanism In The Early Genealogy Of The Outlaw Road Movie, Luke Smith

Journal of Religion & Film

This essay applies René Girard’s scapegoat mechanism to an early genealogy of the outlaw-couple-on-the-run narrative and of the outlaw road movie more broadly. Through readings of You Only Live Once (1937), They Live by Night (1948), Gun Crazy (1950), and Bonnie and Clyde (1967), it argues that scapegoating in these films operates as a process rather than a single final act: the outlaw couple is first marked and excluded from ordinary goods such as work, respectability, and domestic space, then publicly blamed as a cause of disorder, then amplified through mythmaking, circulation, and repetition until finally sacrificed in a closing …

Misread Before Being Known: Race, Religion, And Institutional Non-Inquiry In Abrogation, Franklin Livingston

Journal of Religion & Film

Institutions often arrive at certainty before they arrive at knowledge. This article names that mechanism institutional non-inquiry — the organizational habit through which visual and cultural assumptions substitute for direct verification, allowing identity classifications to solidify before the subject meaningfully enters the encounter. Unlike prejudice, racialization, or established theories of pre-reflexive social perception, institutional non-inquiry isolates the organizational encounter itself as the specific procedural moment at which collective interpretive habits make inquiry feel unnecessary. Examining Abrogation (2024), a micro-budget American independent feature following Daud Khan, a Brown Pakistani-American infectious disease specialist whose movement through evangelical, civic, and federal institutions repeatedly …

Moving On: Purgatorial Seriality And Unanswered Prayer In Lost’S “Ab Aeterno”, Christian Wilken

Journal of Religion & Film

“Ab Aeterno” (Lost, 6.09) distills the series’ religious logic with unusual explicitness by staging theodicy not as doctrine but as narrative procedure. This article argues that the episode converts Catholic sacramental form (confession, absolution, and penitential address) into a serial ethics of endurance in which closure is structurally deferred. Richard Alpert’s confession establishes a subject who seeks an authorized word that would stabilize suffering, yet the priest’s refusal (“I can’t”) installs a theology of unanswered prayer that becomes the template for Richard’s long durée of waiting. Jacob’s “cork” parable then supplies a katechontic justification of restraint: evil is not abolished …

Between Icon And State: Sergei Eisenstein's Ivan The Terrible, Milja Radovic

Journal of Religion & Film

Remembering the 80th anniversary of Sergei Eisenstein’s film Иван Грозный (Ivan the Terrible, 1944/1945), it is crucial to re-examine Eisenstein’s work, including his last film that became an unintentional ‘testament’ to cinema. Eisenstein’s mastery has been pivotal for understanding cinema and film language, the way this language operates, constructs and deconstructs and communicates historical realities. This paper focuses on a film that was made in two parts, Part I in 1944 and part II in 1945, to investigate Eisenstein’s approach to the subject of history, nation and religion. The research considers how this master of cinema contemplated intricate ideas and …

Piercing The Veil In Sinners: Theological Insights From The Juke Joint, Antonio D. Sison Cpps

Journal of Religion & Film

Celebrated as a critical and commercial success, Ryan Coogler’s genre-defying opus Sinners has also been considered as one of the most culturally significant films of 2025. It also promises to be one of the most theologically resonant films of the year. This is evinced not only in its thematic and literary bases but, importantly, in its very audiovisual language and grammar, its stylistic strategies qua film. As reasoned in this essay, Coogler’s film is a rich locus theologicus, a nexus for theological discovery and insight.Sinners kindles the hermeneutical impulse to dialogue with African American/Pan-Africa theologies exemplified by the …

A Metaphorical Passage To God: Simone Weil And Robert Bresson, V. G. Voigt Hogg Phd

Journal of Religion & Film

VOIGT HOGG_Abstract (REVISED)_Journal of Religion & Film_30 April 2026

This article contrasts the metaphysical and religious philosopher Simone Weil’s concepts of attachment and detachment with auteur director Robert Bresson’s method of subtraction. It argues for a commonality in their philosophy and cinema, that guides the reader or viewer respectively, to perceive a metaphorical passage to God through the lived experience of suffering. The article considers by what means does Weil and Bresson share a mutual commitment to understanding the state of the soul in affliction, while also acknowledging an opposition in the interpretation of detachment in relation to suicide. The …

Documenting The Ineffable: A Comparative Analysis Of Mystical Representation In Kimiavi’S The Garden Of Stones And Western Sufi Documentary, Hessam Abedini

Journal of Religion & Film

This article examines how documentary film attempts to represent mystical experience through comparative analysis of Parviz Kimiavi's The Garden of Stones (1976) and American documentaries featuring Samuel Lewis, particularly Sunseed (1973). Rather than assuming terms like "sacred" or "authentic," the study grounds its analysis in empirical definitions from William James, historical scholarship by Carl Ernst and Annemarie Schimmel, and literary theory from Fatemeh Keshavarz. Through detailed examination of specific scenes—Darvish Khan hanging stones from dead trees, Lewis leading ecstatic dances—the article demonstrates how different cinematic strategies approach documentary's epistemological limits when confronting ineffable experience.

The analysis corrects historical misunderstandings about …

Lighting For Digital Film, Roslin Smith

Milne Open Textbooks

Master the art and science of film lighting with this practical, semester-long guide for students and aspiring filmmakers. From lighting history, safety, and electrical fundamentals to hands-on techniques such as Film Noir, Rembrandt, three-point lighting, motivational lighting, and green screen work, this textbook combines clear instruction, real-world exercises, interactive activities, and ready-to-use production resources to help learners create compelling cinematic images.

This book can also be read online at milneopentextbooks.org/lighting-for-digital-film

To access instructor resources, please email [email protected] to be verified (to expedite your approval, email from your organizational email and provide a link to a public professional profile). Upon approval, …

Barrel-Rides And She-Elves: Audience And Anticipation In Peter Jackson’S Hobbit Trilogy [Note], Janet Croft

Faculty Publications

Peter Jackson’s Hobbit trilogy, to the audience that loved the Lord of the Rings films, is an exciting opportunity to revisit Tolkien’s fantastic world and see favorite characters acting out their earlier adventures. The reader of the books, though, is often likely to find the difference in tone between the children’s book and the vastly expanded films jarring. This essay will explore audience expectations, the difficulties of filming a “prequel” after a “sequel,” and issues of “anticipation” in relation to character development.