Film and Media Studies Commons^™

The Sins Of Leo Mccarey, Richard A. Blake S.J.

Journal of Religion & Film

Leo McCarey has received little attention from film scholars. His sentimentalizing his Catholic background and his preoccupation with anti-Communism obscured the lasting value of much of his work. His concern with sin and forgiveness form a major motif of his works, from the early comedies to his later serious dramas.

Satanic But Not Satan: Signs Of The Devilish In Contemporary Cinema, Adam L. Porter

Journal of Religion & Film

Scholars have paid much attention to identifying and analyzing Jesus and Christ-type characters in film. The parallel cases for Satan and satanic characters have been less studied. Some attention has been paid to examining Satan/Lucifer/the Devil as a character (akin to movies about Jesus), but I could find no systematic typology of satanic traits, that would parallel the well-developed Christ-typologies. This article examines six films to begin the process of describing what makes a character "satanic" without being Satan.

“O Great God!” Humility And Camera Movement In Roberto Rossellini’S The Flowers Of St. Francis, Justin Ponder

Journal of Religion & Film

Roberto Rossellini’s The Flowers of St. Francis (1950) represents the saint’s humility through the director’s humble style. Some claim this becomes most apparent in one scene where reverse-editing creates a compassionate bond between the saint and a leper. Close analysis, however, shows that cinematographic elements link Francis to God more than this counterpart. These elements pair him with a man for whom he feels compassion less than the God to whom he shows obedience. Ultimately, this scene’s humble style suggests the ways in which humility might be based less on compassion for others than obedience to God.

Jest In Time: The Problems And Promises Of The Holy Fool In Francesco, Giullare Di Dio, Ordet, And Ikiru, Peter L. Doebler

Journal of Religion & Film

This paper is a study of Roberto Rossellini’s Francesco, giullare di Dio (The Flowers of St. Francis, 1950), Akira Kurosawa’s Ikiru (1952), and Carl Dreyer’s Ordet (1955) through the theoretical lens of the religious figure of the holy fool. First, I assert that each film employs a foolish character in order to critique the contemporary culture, particularly resisting modern attempts to soften or ignore extreme elements of Christian teaching, such as sacrificial self-giving for others or the hope of bodily resurrection. Second, I argue that the content of a fool character affects the film’s form, creating a subversive …

Spirit(Uality) In The Films Of Terrence Malick, Christopher B. Barnett

Journal of Religion & Film

This paper will argue that Terrence Malick is a theological filmmaker, even though scholars have preferred to emphasize his indebtedness to Martin Heidegger. It will proceed by way of Malick’s use of wind imagery. First, it will show that the wind motif recalls theological notions about God as spirit. Second, it will illustrate how Malick employs wind imagery, revealing a sensitivity to the wind’s evocation of God’s presence and absence. Third, it will argue that Malick’s cinematic restraint identifies the practice of detachment [Gelassenheit] as the link between his theological and Heideggerian interests.

Facing Forward, Looking Back: Religion And Film Studies In The Last Decade, Joseph Kickasola, John C. Lyden, S. Brent Plate, Antonio Sison, Sheila J. Nayar, Stefanie Knauss, Rachel Wagner, Jolyon Thomas

Journal of Religion & Film

On November 17, 2012, at the American Academy of Religion’s National Meeting, the Religion, Film, and Visual Culture Group sponsored a session entitled, “Facing Forward, Looking Back: Religion and Film Studies in the Last Decade.” The session focused on four recent books in the field of Religion and Film: John Lyden’s Film as Religion: Myths, Morals and Rituals (NYU, 2003); S. Brent Plate’s Religion and Film: Cinema and the Re-Creation of the World (Wallflower Press, 2009); Antonio Sison’s World Cinema, Theology, and the Human: Humanity in Deep Focus (Routledge, 2012); and Sheila Nayar’s The Sacred and the Cinema: Reconfiguring the …

Cloud Atlas, Gregory Chad Wilkes

Journal of Religion & Film

This is a film review of Cloud Atlas (2012) directed by Tom Tykwer, Andy Wachowski, and Lana Wachowski.

Drop Off Entries For The Student Film Festival Here Poster, Providence College

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Providence College Department of Theatre, Dance & Film

Production Office informational poster: Drop Off Entries for the Student Film Festival Here

The Providence College Film Festival 2013 Entry Form, Providence College

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Providence College Department of Theatre, Dance & Film

The Providence College Film Festival 2013 entry form

Attention Film Minors! Poster, Providence College

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Providence College Department of Theatre, Dance & Film

Student Film Festival 2013

Thursday, May 2, 2013, 6pm

Deadline for submissions: Thursday, April 25, 2013, 5pm

Student Film Festival Email, Vendini Marketing

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Providence College Department of Theatre, Dance & Film

Student Film Festival email advertisement sent by Vendini Marketing

Email printout date: September 19, 2013

Student Film Festival Media Release, Susan Werner

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Providence College Department of Theatre, Dance & Film

Student Film Festival media release

April 2013

Performing Que(E)Ries: Nina Arsenault With J. Paul Halferty, Benjamin Gillespie

Center for LGBTQ Studies (CLAGS)

This exciting conversation and performance demo with one of Canada’s leading queer performance artists took place on October 26th, 2012 in the Segal Theatre at the CUNY Graduate Center. The event featured two short films made by Arsenault and filmmaker Jordan Tannehill, Plane of Immanence and Guadalajara, as well as an extended monologue by Arsenault retelling an autobiographical story on her quest for feminine beauty entitled The Ecstasy of Nina Arsenault: a surgical pilgrimage through a waking facelift.

Performing Que(E)Ries, Charles Busch, James Wilson

Center for LGBTQ Studies (CLAGS)

Charles Busch, renowned New York performer, playwright, director, and drag extraordinaire, participated in the second iteration of this new CLAGS series in the Fall. He discussed his astonishing career in the theatre and on film, as well as the changes he has seen in LGBTQ performance over the last four decades in New York and beyond. The conversation was moderated by CLAGS Executive Director James Wilson.

Lights, Camera, Action: The Role Of Information Technology In Motion Pictures, Dj Christian

Senior Seminars

No abstract provided.

For Country, For Women: Women Directors In The Czech Republic, Hungary, Poland, And Romania, Kathleen Mceneaney

Cinesthesia

No abstract provided.

Masculinity, Audience, And Narrative Structure: A Comparison Of "True Blood" And "Dead Until Dark," And Of Jason And Lafayette In The Tv Series, Dan Ketchum

Cinesthesia

No abstract provided.

Formal Elements Of Art: Analyzing The Dreamy Nature Of Film, Adam Duke

Cinesthesia

No abstract provided.

Sound In "Blue Velvet", Shae Spencer

Cinesthesia

No abstract provided.

Danger In Deviance: Colonial Imagery And The Power Of Indigenous Female Sexuality In New Spain, Mariel Frechette

Scripps Senior Theses

The primary objective of this work is to understand the importance of the indigenous, female body in early New Spain through the study of visual media from the first two centuries of colonization: specifically looking at illustrations from Book 10 (of 15) in the Florentine Codex and images of indigenous Christian wedding ceremonies such as the painted folding screen Indian Wedding and a Flying Pole (c.1690). I argue through visual, theoretical and historical analysis that regulating indigenous female sexuality was a critical component to in the creation of colonial New Spain and that imagery played an essential role in this …