Scorsese’S Silence: Film As Practical Theodicy,
2017
Gordon College - Wenham
Scorsese’S Silence: Film As Practical Theodicy, Ian Deweese-Boyd
Journal of Religion & Film
Martin Scorsese’s adaptation of Shusaku Endo’s novel Silence takes up the anguished experience of God’s silence in the face of human suffering. The main character, the Jesuit priest Sabastião Rodrigues, finds his faith gutted by the appalling silence of God as he witnesses the horrific persecution of Christians in seventeenth century Japan. Yujin Nagasawa calls the particularly intense combination of the problems of divine hiddenness and evil the problem of divine absence that resists resolution through explanations that have typically characterized the theodicies offered by philosophers. Drawing on the thought of Ignatius of Loyola, this essay explores the way …
Now That Was A Nice Hanging: The Hateful Eight As Parable?,
2017
Methodist University, Fayetteville, NC
Now That Was A Nice Hanging: The Hateful Eight As Parable?, Richard G. Walsh
Journal of Religion & Film
The opening of Quentin Tarantino’s The Hateful Eight conjoins the iconic landscape of the Western, Christianity’s chief symbol the crucifix, and Tarantino’s oeuvre. The film gives the crucifix so much screen time that one wonders what its significance might be. That the film climaxes with the lynching of Daisy Domergue renders the crucifix teasingly parabolic. The opening-closing frame parallels the two hangings, as do the various eulogies associated with the lynching. That Daisy’s lynching takes place at the hands of the film’s two surviving characters—who, like the horses that lead the stagecoach team delivering Daisy to her fate, are black …
Still Banned After All These Years- Retracing The Journey Of Cavani’S ‘Revolutionary’ Galileo (1968).,
2017
University of Westminster, London
Still Banned After All These Years- Retracing The Journey Of Cavani’S ‘Revolutionary’ Galileo (1968)., Silvia Angeli
Journal of Religion & Film
“Revolutionary” and “scandalous” are adjectives the late Ettore Bernabei, General Director of Italian State Television (RAI) from 1961 to 1974, used to describe Liliana Cavani’s Galileo (1968) in a 2005 interview for Corriere della Sera. Such harsh judgment reflects the undiminished hostility of a significant branch of Italian Catholicism toward the film. The fact that almost 50 years after its release Galileo has yet to be broadcast on public television despite being commissioned by it unequivocally confirms this hostility. Based on primary sources such as press articles and archival sources, this article chronicles Galileo’s incredible journey through …
A Fight Over Souls: Documentary Films On The Rwandan Genocide With A Christian Theme,
2017
Linnaeus University
A Fight Over Souls: Documentary Films On The Rwandan Genocide With A Christian Theme, Tommy Gustafsson
Journal of Religion & Film
The 1994 genocide against the Tutsis in Rwanda have spawned over 150 feature films and feature-length documentaries, making it into the second most audio-visually recreated genocide after the Holocaust. Within this large body of historical films a subgenre have emerged with a distinctive Christian theme. This article explores these Christian themed documentary films about the Rwandan genocide and positions them within a film historical perspective as well as analyzes and contextualizes them as a subgenre of films about the Rwandan genocide within films about genocide in general. Of note are how memory and historiography are used, and the links between …
Fixing Ground Zero: Race And Religion In Francis Lawrence’S I Am Legend,
2017
University of South Florida
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.
Les Affamés,
2017
University of Toronto
Les Affamés, J. Barton Scott
Journal of Religion & Film
This is a film review of Les Affamés, directed by Robin Aubert.
Verónica,
2017
University of Toronto
Verónica, Kyle Derkson
Journal of Religion & Film
This is a film review of Verónica (2017), directed by Paco Plaza.
Dreams, Doubt, And Dread: The Spiritual In Film,
2017
University of St Andrews
Dreams, Doubt, And Dread: The Spiritual In Film, Joel Mayward
Journal of Religion & Film
This is a book review of Zachary Settle and Taylor Worley, eds. Dreams, Doubt, and Dread: The Spiritual in Film. Eugene, OR: Wipf and Stock, 2016.
The Little Hours,
2017
Georgetown University
The Little Hours, Frederick Ruf, Kathryn Wade
Journal of Religion & Film
This is a film review of The Little Hours (2017), directed by Jeff Baena.
Beatriz At Dinner,
2017
Watkins College of Art, Design, and Film
Beatriz At Dinner, Kevin V. Dodd
Journal of Religion & Film
This is a film review of Beatriz at Dinner (2017), directed by Miguel Arteta.
Impressive Failures: Mavericks Of Film Authorship And The Impossibility Of Success In Hollywood,
2017
CUNY Graduate Center
Impressive Failures: Mavericks Of Film Authorship And The Impossibility Of Success In Hollywood, Tom S. Davies
Dissertations, Theses, and Capstone Projects
This dissertation directly challenges the critical and commercial primacy of success attached to Hollywood films and their filmmakers, especially when one argues for or against their quality and/or importance within cinematic history. Through a process of shifting and multiplying perspectives within a broader narrative that is critical of what separates success and failure, certain films and filmmakers that were judged as failures or disappointments under impossible prerequisites of creating a successful film––commercially, aesthetically, or both–– are, instead, reconsidered as constructive counterpoints to the expectations of the Hollywood economic field of production as well as to the inevitable disappointment of the …
Butch Between The Wars: A Pre-History Of Butch Style In Twentieth-Century Literature, Music, And Film,
2017
CUNY Graduate Center
Butch Between The Wars: A Pre-History Of Butch Style In Twentieth-Century Literature, Music, And Film, Karen Allison Hammer
Dissertations, Theses, and Capstone Projects
Butch Between the Wars is a pre-history of “butch,” a twentieth-century masculine style that became an identity category for lesbians in the 1940s and ’50s. Between the two world wars and in the early postwar period, women used the energy of butch to create literature, music, and character on film. Butch-styled artists expressed a muscular orientation to the world, one with close associations to lower and working class black and white masculinities. Those who were recognizably lesbian and those with less clearly defined sexualities challenged the idea that strength, authority, and independence are qualities “naturally” bound to the male body. …
Smita Patil: Fiercely Feminine,
2017
CUNY Graduate Center
Smita Patil: Fiercely Feminine, Lakshmi Ramanathan
Dissertations, Theses, and Capstone Projects
Smita Patil is an Indian actress who worked in films for a twelve year period between 1974 and 1986, during which time she established herself as one of the powerhouses of the Parallel Cinema movement in the country. She was discovered by none other than Shyam Benegal, a pioneering film-maker himself. She started with a supporting role in Nishant, and never looked back, growing into her own from one remarkable performance to the next. She quickly became the go-to actress for most of the film-makers working in Parallel Cinema at the time. Patil was soon critically acclaimed both within …
Brüno Is So Gay,
2017
Old Dominion University
Brüno Is So Gay, Thomas Duering
OUR Journal: ODU Undergraduate Research Journal
Few comedians are as willing to confront American culture‟s greatest taboos for the sake of a joke as Sacha Baron Cohen. Baron Cohen originally gained popularity in America with his adorably ignorant and bumbling character, Borat. According to Biography.com, “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan was a surprise smash, bringing in more than $128 million at the box office”. Because of Borat‟s success, Baron Cohen is now known for a unique style of filmmaking in which his characters present themselves to people under false premises in an attempt to catch funny reactions on …
Reflections On A Lifetime Of Reading,
2017
Erskine College and Seminary
Reflections On A Lifetime Of Reading, Frederick W. Guyette Mr.
South Carolina Libraries
Here I give an account of my life as a reader. The first books I remember enjoying are those that were read aloud on Captain Kangaroo, such as Mike Mulligan and His Steam Shovel, The Story about Ping, and Stone Soup. When I was a little older, in school we learned about science and current events from the stories in Weekly Reader. This was followed by an interest in baseball and the sports page in the local newspaper. In high school, I was more interested in films than books, but “visual literacy” has it place in life, …
El Arte De "Lágrimas En La Lluvia",
2017
Southern Utah University
El Arte De "Lágrimas En La Lluvia", Todd K. Mack
Alambique. Revista académica de ciencia ficción y fantasía / Jornal acadêmico de ficção científica e fantasía
Uno de los elementos destacados de Lágrimas en la lluvia, la excelente novela de ciencia ficción de la madrileña Rosa Montero, es la genial inclusión de obras de arte con fines simbólicos dentro de la obra. Entre estas obras de arte se incluye el famoso cuadro de Johannes Vermeer, Una señora escribiendo una carta con su criada. En este artículo, el dr. Todd Mack muestra cómo este cuadro presagia el principal dilema de la protagonista de la novela. Bruna Husky es una replicante, y por eso sabe exactamente cuánto tiempo vivirá. El conocimiento de su inescapable fin hace …
Hong Kong's Homegrown Zombie In Vasion,
2017
Vocational Training Council
Hong Kong's Homegrown Zombie In Vasion
SIGNED: The Magazine of The Hong Kong Design Institute
HKDI alumni Nero Ng Siu-lun and Alan Lo spoke to SIGNED about their recent film Zombiology; Enjoy yourself tonight to give us an insight into how they broke into the world of film
Políticas De Lo Estético En La Ilustración De Ciencia Ficción. El Caso De “Think Blue, Count Two” De Cordwainer Smith,
2017
Independent Scholar
Políticas De Lo Estético En La Ilustración De Ciencia Ficción. El Caso De “Think Blue, Count Two” De Cordwainer Smith, Silvia Gabriela Kurlat Ares
Alambique. Revista académica de ciencia ficción y fantasía / Jornal acadêmico de ficção científica e fantasía
Desde el período del Dadá se han ido borrando los límites entre las formas artísticas y sus soportes, entre las estéticas de uso y las estéticas formales, entre los espacios altos y bajos de producción cultural, y también, entre la percepción de centros y periferias que parecen haberse astillado y reproducido a la interioridad de espacios hasta hacer de la hegemonía misma, al decir the Beasley Murray, un concepto no sólo inestable sino casi inexistente. En el caso de la ciencia ficción, esa porosidad hace a la constitución misma de una estética que opera desde la factura del naturalismo pero …
Table Of Contents,
2017
Portland State University
Table Of Contents
Anthós
This document includes the front matter and table of contents for this issue of Anthós.
Religious And National Identity In My Name Is Khan (Hindi Translation),
2017
Florida State University
Religious And National Identity In My Name Is Khan (Hindi Translation), Kathleen M. Erndl
Journal of Religion & Film
The Bollywood film, My Name Is Khan (2010) is the story of an Indian Muslim man, Rizwan Khan, with Asberger’s Syndrome, living in the San Francisco area and married to an Indian Hindu woman, who, post 9/11, sets off on a journey across the United States to tell the President, “My name is Khan, and I’m not a terrorist.” Filmed in lush settings in both India and the U.S., this high-budget production was a blockbuster both in India and abroad. For director Karan Johar, known for his highly successful glossy romantic dramas, such as Kuch Kuch Hota Hai (1998) and …
