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Articles 271 - 300 of 320
Full-Text Articles in Entire DC Network
Tired Moonlight, Kristian Petersen
Tired Moonlight, Kristian Petersen
Journal of Religion & Film
This is a film review of Tired Moonlight (2015) directed by Britni West.
Birds Of Neptune, Kristian Petersen
Birds Of Neptune, Kristian Petersen
Journal of Religion & Film
This is a film review of Birds of Neptune (2015) directed by Stephen Richter.
Faith Under The Fedora: Indiana Jones And The Heroic Journey Towards God, Chris Yogerst
Faith Under The Fedora: Indiana Jones And The Heroic Journey Towards God, Chris Yogerst
Journal of Religion & Film
This essay explores how the original Indiana Jones trilogy (Raiders of the Lost Ark, Temple of Doom, and The Last Crusade) work as a single journey towards faith. In the first film, Indy fully rejects religion and by the third film he accepts God. How does this happen? Indy takes a journey by exploring archeology, mythology, and theology that is best exemplified by Joseph Campbell's The Hero With a Thousand Faces. Like many people who come to find faith, it does not occur overnight. Indy takes a similar path, using his career and adventurer status …
Cloud Atlas’ Queer Tiki Kitsch: Polynesians, Settler Colonialism, And Sci-Fi Film, Gabriel S. Estrada
Cloud Atlas’ Queer Tiki Kitsch: Polynesians, Settler Colonialism, And Sci-Fi Film, Gabriel S. Estrada
Journal of Religion & Film
Polynesian theories of film reception, visual sovereignty, feminisms, and worldview offer critical insights into The Wachowskis' and Tykwer's 2012 film Cloud Atlas. From Indigenous and Native feminist film perspectives, Cloud Atlas offers a sci-fi future deeply entrenched in the queer tiki kitsch of settler colonialism as situated within a comparative context of other queer Indigenous film. As an example of heteropatriarchal settler colonialism, the Cloud Atlas plot supports the heterosexual triumphs of cross-racial couples and sublimates the possibilities of transgender reincarnation. Although Cloud Atlas attempts to critique Christian slavery and defend a secular abolitionist stance in the 1848 South Pacific, …
The Wolf Of Wall Street, Daniel Ross Goodman
The Wolf Of Wall Street, Daniel Ross Goodman
Journal of Religion & Film
This is a film review of The Wolf of Wall Street (2013), directed by Martin Scorsese.
Plato's Watermelon: Art And Illusion In The Brothers Bloom, David L. Smith
Plato's Watermelon: Art And Illusion In The Brothers Bloom, David L. Smith
Journal of Religion & Film
Rian Johnson’s The Brothers Bloom is a sophisticated film about storytelling, pitting the idea that stories are an enhancement of life against the suspicion that stories are a deception. Set in a world of con artistry and illusion, it raises issues similar to those introduced in Plato’s allegory of the cave and in the critique of religion as illusion. Specifically, it follows one character’s desire for an “unwritten life”—a life free from artifice—through various logical and interpersonal challenges, and ends with a profound meditation on the coinherence of faith and skepticism.
Interview With Edet Belzberg, Rubina Ramji
Interview With Edet Belzberg, Rubina Ramji
Journal of Religion & Film
This is a summary of an interview with Edet Belzberg, director of Watchers of the Sky.
The Green Prince, Rubina Ramji, Jodi Mcdavid
The Green Prince, Rubina Ramji, Jodi Mcdavid
Journal of Religion & Film
This is a film review of The Green Prince (2013), directed by Nadav Schirman.
Song One, Rubina Ramji
Song One, Rubina Ramji
Journal of Religion & Film
This is a film review of Song One (2014), directed by Kate Barker-Froyland.
What We Do In The Shadows, Rubina Ramji
What We Do In The Shadows, Rubina Ramji
Journal of Religion & Film
This is a film review of What We Do in the Shadows (2013), directed by Taika Waititi and Jemaine Clement.
Watchers Of The Sky, Rubina Ramji
Watchers Of The Sky, Rubina Ramji
Journal of Religion & Film
This is a film review of Watchers of the Sky (2014), directed by Edet Belzberg.
The Babadook, Rubina Ramji
The Babadook, Rubina Ramji
Journal of Religion & Film
This is a film review of The Babadook (2013), directed by Jennifer Kent.
Kumiko, The Treasure Hunter, Rubina Ramji
Kumiko, The Treasure Hunter, Rubina Ramji
Journal of Religion & Film
This is a film review of Kumiko, The Treasure Hunter (2014), directed by David Zellner.
Cloud Atlas, Ting Guo
Cloud Atlas, Ting Guo
Journal of Religion & Film
This is a film review of Cloud Atlas (2012) which aims to address what constitutes the reasons for the success of this film and the humanistic theme in which they are rooted, despite the seemingly Buddhist philosophy such as reincarnation this film embodies.
Of Men, Roles And Rules: Nanni Moretti’S Habemus Papam, Davide Zordan
Of Men, Roles And Rules: Nanni Moretti’S Habemus Papam, Davide Zordan
Journal of Religion & Film
This paper focuses on Nanni Moretti’s Habemus Papam and in particular on its representation of the interaction between religion and masculinity. In the light of gender studies, it asks which idea of masculinity, but also of fatherhood, Catholicism and its system of authority tend to encourage according to the film, and it assesses the opportunities for change that the film imaginatively explores. The analysis of the idea of masculinity investigates in particular the distinction between person and office, the necessity of which is dramatically illustrated in the film.
Exploring Orthodox Jewish Masculinities With Eyes Wide Open, Stefanie Knauss
Exploring Orthodox Jewish Masculinities With Eyes Wide Open, Stefanie Knauss
Journal of Religion & Film
Eyes Wide Open (Einayim Petukhoth), Haim Tabakman’s 2009 feature debut, explores the masculinity of strictly Orthodox Jewish men, carefully noting the various practices that shape it – work, religion, clothes, family, social context and community, sexual desire –, but also the fissures that emerge in their performances. Drawing on Judith Butler’s theory of the performativity of gender practices and R.W. Connell’s concept of hegemonic masculinity, this paper argues that the film explores the practices through which Haredi masculinity is performatively established, but it also shows that this hegemonic masculinity is never perfectly embodied by any man. It is …
Fire, Water And The Goddess: The Films Of Deepa Mehta And Satyajit Ray As Critiques Of Hindu Patriarchy, David F. Burton
Fire, Water And The Goddess: The Films Of Deepa Mehta And Satyajit Ray As Critiques Of Hindu Patriarchy, David F. Burton
Journal of Religion & Film
This article focuses on Fire (1996) and Water (2005), two films directed by Deepa Mehta that present patriarchal Hindu attitudes to women and sexuality as in need of reform. Mehta’s films have met with hostility from Hindu conservatives and have also been accused of Orientalist misrepresentations. While these objections highlight the contested nature of “authentic” Hindu identity, Fire and Water remain powerful indictments of male hegemony in Hinduism. Mehta has cited Satyajit Ray as a major influence on her work; there are interesting parallels between Mehta’s films and Ray’s film Devi (The Goddess, 1960), which explores the plight …
Christians In The Movies: A Century Of Saints And Sinners, Bryan Polk
Christians In The Movies: A Century Of Saints And Sinners, Bryan Polk
Journal of Religion & Film
This is a book review of Peter Dans' Christians in the Movies: A Century of Saints and Sinners (Lanham, MD: Rowman and Littlefield, 2009).
The Sins Of Leo Mccarey, Richard A. Blake S.J.
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.
The Problem Of Evil And Humans’ Relationship With God In Terrence Malick’S The Tree Of Life, Bertha Alvarez Manninen Ph.D.
The Problem Of Evil And Humans’ Relationship With God In Terrence Malick’S The Tree Of Life, Bertha Alvarez Manninen Ph.D.
Journal of Religion & Film
Terrence Malick’s 2011 film The Tree of Life defies any attempt to be summarized in a few pat sentences. The movie tackles significant theological issues as it tells the story of one man’s journey to regain his faith after the loss of his beloved brother and a difficult relationship with his father. At the same time, it is also a film about humankind’s relationship to God, and about the kind of life human beings should strive to lead. In this paper, I will discuss two of the film’s main themes: Malick’s response to the problem of evil (or, as it …
Spirit(Uality) In The Films Of Terrence Malick, Christopher B. Barnett
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
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 …
Crooked Arrows, Jordan Printup, Richard Salter
Crooked Arrows, Jordan Printup, Richard Salter
Journal of Religion & Film
This is a film review of Crooked Arrows (2012), directed by Steve Rash.
Framing Salvation: Biblical Apocalyptic, Cinematic Dystopia, And Contextualizing The Narrative Of Salvation, Caesar A. Montevecchio
Framing Salvation: Biblical Apocalyptic, Cinematic Dystopia, And Contextualizing The Narrative Of Salvation, Caesar A. Montevecchio
Journal of Religion & Film
Christian biblical authors used the apocalyptic genre to help contextualize the meaning of salvation for their audiences. Today, dystopian film can serve a similar function. In each case, the narrative diagnoses a sinister mis-ordering of human civilization and attempts to prescribe ways in which it can be overcome. Just as apocalyptic gave biblical authors the ability to make statements about what salvation was salvation from, dystopian narratives can similarly demonstrate what social conditions today remain in need of remediation. When these dystopian narratives do so by making use of symbols and themes associated with Christian soteriology their diagnoses can become …
Hitchcock And The Scapegoat: Violence And Victimization In The Wrong Man, David Humbert
Hitchcock And The Scapegoat: Violence And Victimization In The Wrong Man, David Humbert
Journal of Religion & Film
Alfred Hitchcock’s The Wrong Man tells the story of Emmanuel Balestrero, arrested for a crime committed by his physical double. This paper examines the theme of the scapegoat in the film and argues that it portrays in miniature what theorist René Girard has described as a mimetic crisis. While the plight of the central character is usually portrayed as a product of blind chance, it is instead due to the mimetic fears, desires, and vanities of the members of society that accuse him. The fate of Balestrero reveals the operation of a specific kind of scapegoat mechanism that has its …
Sundance Film Festival 2012 Report, John C. Lyden, William Blizek, Dereck Daschke, Kutter Callaway, Jeanette Reedy Solano
Sundance Film Festival 2012 Report, John C. Lyden, William Blizek, Dereck Daschke, Kutter Callaway, Jeanette Reedy Solano
Journal of Religion & Film
This is the report of our editors from the Sundance Film Festival, held in Park City, Utah from January 19-29, 2012.
Irruptions Of The Sacred In A “World Of Shit”: Profanity, Sacred Words, And Cinematic Hierophanies In Stanley Kubrick’S Full Metal Jacket (1987), Joseph E. Bisson
Irruptions Of The Sacred In A “World Of Shit”: Profanity, Sacred Words, And Cinematic Hierophanies In Stanley Kubrick’S Full Metal Jacket (1987), Joseph E. Bisson
Journal of Religion & Film
Full Metal Jacket remains embedded in the consciousness of the popular culture mainly because of its abundance of profane language, violent imagery, and salacious set pieces. The juxtaposition of profane language and imagery with sacred language and religious symbolism reveals that Kubrick’s Vietnam film has powerful religious overtones that comprise an important element of the film’s critique of homo religiosus and the modern human condition. By continually juxtaposing the sacred and profane, Kubrick created “cinematic hierophanies” that advanced a cultural critique that inventively integrated ideas from some of the mid-20th Century’s greatest interpreters of myths -- Carl Jung, Joseph …
There’S No Place Like Home: From Oz To Antichrist, J. Sage Elwell
There’S No Place Like Home: From Oz To Antichrist, J. Sage Elwell
Journal of Religion & Film
This article explores the dialectic of the uncanny in The Wizard of Oz (Victor Flemming, 1939) and Antichrist (Lars von Trier, 2009), treating the latter as a sequel to the former such that we encounter Dorothy first as a young girl and then as a grown woman. I observe that the uncanny entails a repressive and expressive moment that is cinematically rendered in these two films, and drawing on Freud and Žižek, I argue that in Dorothy’s evolution from Oz to Antichrist we see that the witches and wizards and gods and devils of our own minds are known to …
In The Kingdom Of Men: Love, Faith And Spirituality In Von Trier's Breaking The Waves, Ingrid Fernandez
In The Kingdom Of Men: Love, Faith And Spirituality In Von Trier's Breaking The Waves, Ingrid Fernandez
Journal of Religion & Film
Rehabilitating Lars von Trier: The power of von Trier’s Breaking the Waves lies exactly in its irreducibility to a fixed interpretation. The director reconceptualizes the themes of spiritual devotion, faith and love in an unorthodox tale of the human struggle to find meaning and purpose in the world. The character of Bess allows us to penetrate into the innermost regions of the mind and affirms a humanistic approach to our relationship to ourselves and others. Von Trier places an individual’s actions as a form of development, a gesture towards transcendence that nonetheless exists within the mixture of banality and profundity …
[Rec] 2, Andy Chi Kit Wong
[Rec] 2, Andy Chi Kit Wong
Journal of Religion & Film
This is a review of [REC] 2 (2009).