Devotional Fanscapes: Bollywood Star Deities, Devotee-Fans, And Cultural Politics In India And Beyond,
2024
Florida State University
Devotional Fanscapes: Bollywood Star Deities, Devotee-Fans, And Cultural Politics In India And Beyond, Ajiththa Suganthan
Journal of Religion & Film
This is a book review of Shalini Kakar, Devotional Fanscapes: Bollywood Star Deities, Devotee-Fans, and Cultural Politics in India and Beyond (Lanham, MD: Lexington, 2023).
Heretic,
2024
University of Toronto
Heretic, J. Barton Scott
Journal of Religion & Film
This is a film review of Heretic (2024), directed by Scott Beck and Brian Woods.
The Last Of The Sea Women,
2024
Martin Luther University College, Waterloo, ON
The Last Of The Sea Women, Sherry Coman
Journal of Religion & Film
This is a film review of The Last of the Sea Women (2024), directed by Sue Kim.
My Father's Daughter,
2024
Martin Luther University College, Waterloo, ON
My Father's Daughter, Sherry Coman
Journal of Religion & Film
This is a film review of My Father's Daughter (2024), directed by Egil Pedersen.
Jane Austen Wrecked My Life,
2024
Martin Luther University College, Waterloo, ON
Jane Austen Wrecked My Life, Sherry Coman
Journal of Religion & Film
This is a film review of Jane Austen Wrecked My Life (2024), directed by Laura Piani.
Hard Truths,
2024
Martin Luther University College, Waterloo, ON
Hard Truths, Sherry Coman
Journal of Religion & Film
This is a film review of Hard Truths (2024), directed by Mike Leigh.
Conclave,
2024
Martin Luther University College, Waterloo, ON
Conclave, Sherry Coman
Journal of Religion & Film
This is a film review of Conclave (2024), directed by Edward Berger.
The Room Next Door,
2024
Martin Luther University College, Waterloo, ON
The Room Next Door, Sherry Coman
Journal of Religion & Film
This is a film review of The Room Next Door (2024), directed by Pedro Almodóvar.
Souleymane’S Story,
2024
Martin Luther University College, Waterloo, ON
Souleymane’S Story, Sherry Coman
Journal of Religion & Film
This is a film review of Souleymane’s Story (2024), directed by Boris Lojkine.
Fallen Leaves,
2024
Georgetown University
Fallen Leaves, Frederick Ruf
Journal of Religion & Film
This is a film review of Fallen Leaves (2023), directed by Aki Kaurismäki.
Civil War,
2024
Washburn University
Civil War, Dennis Etzel Jr
Journal of Religion & Film
Alex Garland’s 2024 film Civil War exemplifies how film can be considered a modern mythology, using a war movie to tell the story of the hero’s journey with a mother archetype as the hero. Through an audience’s shared morals and values, an impartial point-of-view, symbolism, the Jungian mother archetype, transformational imagery, ethical dilemmas and collective fears, the film functions in the way mythology does while leaving viewers questions for their own lives.
Framing Immanence In Carl Theodor Dreyer’S Ordet And Carlos Reygadas’S Stellet Licht,
2024
Washington University in St. Louis
Framing Immanence In Carl Theodor Dreyer’S Ordet And Carlos Reygadas’S Stellet Licht, Andre Fischer
Journal of Religion & Film
My article proposes the notion of the immanent frame to productively address film-theoretical and theological concepts at stake in Carl Theodor Dreyer’s Ordet (1955) and Carlos Reygadas’s Stellet Licht (2007). I believe my intervention to be significant for it shows how both films are not only related in their religious subject matter but negotiate it in formal terms through the notion of the immanent frame. Although both films have been analyzed alongside one another in the past, my article is the first to address the Mennonite migration history and notion of secularization (Taylor) to explain the function of the time-images …
Bodies Of Horror In Judges 19-21 And Evil Dead Ii (1987),
2024
Truett Seminary-Baylor University
Bodies Of Horror In Judges 19-21 And Evil Dead Ii (1987), Jennifer M. Matheny, Aaron Bohn
Journal of Religion & Film
Sam Raimi's Evil Dead II (1987), a horror film, demonstrates key thematic parallels with Judges 19-21. Evil Dead IIidentifies with the film genres of “splatter horror” and “dark comedy” with a B-movie cult classic vibe. Placing the Bible’s body horror (Judges 19) and horror film in dialogue on their own terms creates an intertextual dialogue that can be fruitful when dealing with violent biblical texts that communicate an excess state of terror (Phyllis Trible). Through the lens of postbiblical intertextuality (Marianne Grohmann and Hyun Chul Paul Kim), this paper will explore thematic parallels and connections in conversation between Evil …
Enraptured By Rapture: Production Context, Biblical Interpretation, And Evangelical Eschatology In The Rapture, Left Behind, And This Is The End,
2024
University of Dayton
Enraptured By Rapture: Production Context, Biblical Interpretation, And Evangelical Eschatology In The Rapture, Left Behind, And This Is The End, Robert G. Joseph, Laura M. Tringali, Meghan R. Henning
Journal of Religion & Film
The Book of Revelation's place in the popular imaginary has been fueled by both its popularity within evangelical eschatology and its endless evocations within mainstream film and TV. Both evangelicalism and popular culture frequently equate the events of John’s Apocalypse with the rapture, a selective reading of New Testament verses which envisions God’s faithful being called to heaven in advance of the Tribulation. This paper analyzes three distinct films which mediate on both the rapture and Revelation: The Rapture (1991), Left Behind: The Movie (2000), and This is the End (2013). Analyzing these films within their respective modes of production …
Televangelism And Religion In Star Trek V And Licence To Kill,
2024
Queen's University, Ontario
Televangelism And Religion In Star Trek V And Licence To Kill, Robert Revington
Journal of Religion & Film
In June 1989, both Star Trek V: The Final Frontier and the James Bond film Licence to Kill were released in theatres within days of each other. This study analyzes how story elements in both films were directly inspired by recent televangelist scandals in the United States. The Star Trek film was also intended to have a deeper examination of the nature of God and the Devil. Nonetheless, both films were also intended to appeal to a mass audience. To that end, these films' explorations of religious issues were watered down to avoid offending Christian denominations or churches (though not …
The Sudden Deluge: Parasite, Matthew 24:36-51, And Immanent Apocalyptic Imagery,
2024
Huntingdon College
The Sudden Deluge: Parasite, Matthew 24:36-51, And Immanent Apocalyptic Imagery, Diana Abernethy
Journal of Religion & Film
Bong Joon Ho’s 2019 film Parasite shares significant imagery with the apocalyptic teachings in Matthew 24:36-51. Both feature oblivious carousers before a flood, sleeping homeowners, and domestic workers caught unaware by a returning homeowner. This article argues that this shared imagery gives Parasite an apocalyptic edge that intensifies the film’s warnings about potential consequences of extreme economic disparities in capitalism. This article develops this argument by (1) highlighting the apocalyptic features of Matthew 24:36-51; (2) describing the convergence of imagery between Parasite and Matthew 24:36-51; and (3) exploring how the film’s apocalyptic edge illuminates urgent and latent dangers of extreme …
From Theory To Screen: Strain In The Gallagher Experience,
2024
Old Dominion University
From Theory To Screen: Strain In The Gallagher Experience, Caroline H. Peabody
OUR Journal: ODU Undergraduate Research Journal
This paper applies Agnew’s General Strain Theory to the hit television series Shameless (US), primarily focusing on three of the show’s central characters. The paper argues that the characters’ criminal and deviant actions can be attributed to strain, as defined by Robert Agnew’s General Strain Theory (GST). The paper provides a basic overview of GST as well as a synopsis of the show before implementing the theory into an analysis of the show. In addition, this paper explores how criminality highlights the themes of Shameless and acts as an implicit call to action to address strain variables in underprivileged communities. …
Inside Indochina: Vietnam's National Identity Through French Historical Blockbusters,
2024
DePauw University
Inside Indochina: Vietnam's National Identity Through French Historical Blockbusters, Chi Q. Pham '25
Annual Student Research Poster Session
Cinema has been credited for contributing to the understanding of one's nation. In the case of the former French Indochina, despite being a well studied historical subject, few movies have been made about it, even fewer have taken place within those geographical borders. This paper will uncover the Vietnamese government’s intervention in portraying the Indochina state on Western screens, and what their cinematic vision of the colonial French-Indochina chapter in their history might look like. In 1992, three French blockbusters, Indochine, L’Amant, and Dien Bien Phu, were released and concurrently provided artistic lenses into the former colonial state. This trio …
Science Fiction, Eng 2420, Syllabus And Course Outline,
2024
CUNY New York City College of Technology
Science Fiction, Eng 2420, Syllabus And Course Outline, Jason W. Ellis
Open Educational Resources
This Science Fiction, ENG2420 syllabus and course outline was written for an online, asynchronous class taught in the Department of English at the New York City College of Technology, CUNY. It was designed to compliment the OER Yet Another Science Fiction Textbook (YASFT) and have a Zero Textbook Cost (ZTC) approach with readings and viewings found primarily through the Internet Archive. The course follows a historical approach to the science fiction genre covering the Origins of Science Fiction, Mary Shelley’s Frankenstein, Proto-SF, Pulp SF, SF Film Serials, Golden Age SF, SF Film Through the 1950s, New Wave …
Entwined Derelict,
2024
Harrisburg University of Science and Technology
Entwined Derelict, Alex Teeple
Harrisburg University Other Works
"Entwined Derelict" was my first delve into the Twine interactive fiction engine, and the second game that I consider "feature complete". While a significant focus was put on learning the engine as a whole, particular effort for me was put into a sidebar "journal" of sorts, that took narrative flags from the game and recorded the events in a way that allows players to read back what they have experienced in-game at their leisure. While I greatly enjoyed making the game, and I do consider it a complete experience with some unique pieces within, it is a short adventure without …
