Arts and Humanities Commons^™

Mary Magdalene On Film In Twenty-First Century: A Feminist Theological Critique, Mary Ann Beavis

Journal of Religion & Film

Since the turn of the millennium, several films (and one popular TV series) featuring Mary Magdalene as a significant character, or even as the central character, have been produced. A few, specifically Son of God (2104), The Chosen (2017-), and Mary Magdalene (2019), gained a wide audience through some combination of theatrical release, television, and streaming services. Unlike earlier productions that unfailingly portrayed her conventionally as a penitent prostitute, these and other, less well-known films of recent decades have departed from this traditional Magdalene. This is no doubt due, among other things, to the influence of feminist theology and biblical …

The T&T Clark Handbook Of Jesus And Film, Joel Mayward

Journal of Religion & Film

This is a book review of Richard Walsh, ed. The T&T Clark Handbook of Jesus and Film (London: T&T Clark, 2021).

Rape Jokes, Sexual Violence, And Empire In Revelation And This Is The End, Meredith J.C. Warren

Journal of Religion & Film

The Book of Revelation is one of the most borrowed-from texts of the New Testament when it comes to popular culture. Although there are dozens of other ancient apocalyptic writings, it is John’s apocalyptic visions that directly inform contemporary ideas of apocalypse. The apocalyptic comedy This Is The End (Dir. Seth Rogen and Evan Goldberg, 2013) not only invokes imagery from Revelation but also adapts portions of the text in its portrayal of the end times. However, it also reproduces and expands upon the use of sexual violence as a means of punishment found in Revelation. This paper will examine …

Giving The Devil His Due: Satan And Cinema, Brandon R. Grafius

Journal of Religion & Film

This is a book review of Jeffrey Andrew Weinstock and Regina M. Hansen, eds., Giving the Devil His Due: Satan and Cinema (New York: Fordham University Press, 2021).

Transforming Leviathan: Job, Hobbes, Zvyagintsev And Philosophical Progression, Graham C. Goff

Journal of Religion & Film

The allegory of Leviathan, the biblical serpent of the seas, has undergone numerous distinct and even antithetical conceptions since its origin in the book of Job. Most prominently, Leviathan was the namesake of Thomas Hobbes’s 1651 political treatise and Andrey Zvyagintsev’s 2014 film of the same name, a damning indictment of Russian corruption. These three iterations underscore the societal transition from the recognition of power as being derived from God to the secularization of power in Hobbes’s philosophy, to the negation of the legitimacy of divine and secular institutional power, in Zvyagintsev’s controversial film. This examination of Leviathan’s three unique …

The Presence And Absence Of Animal Sacrifice In Jesus Films, James W. Barker, Daniel C. Ullucci

Journal of Religion & Film

This article illuminates an overlooked polemic embedded in many Jesus films. Filmmakers show little comprehension of the architecture of the Jerusalem temple. When the temple does appear, animal sacrifice is either eradicated entirely or grossly misrepresented. Since contemporary audiences are increasingly unfamiliar with animal sacrifice and butchery in general, ancient Jewish rituals can be interpreted as unscrupulous and barbaric. Also, the temple and priesthood are often expressly depicted as greedy and corrupt. A related motif anachronistically attributes the Christian rejection of animal sacrifice to Jesus himself. Some of these mischaracterizations arise from gaps, ambiguities, and ideologies within the written Gospels. …

The Monstrous Other And The Biblical Narrative Of Ruth, Jonathan Lyonhart, Jennifer Matheny

Journal of Religion & Film

Guillermo Del Toro’s The Shape of Water (2017) restages the biblical narrative of Ruth in Cold War America, crystallizing the parallel through setting numerous scenes at a local cinema that is playing The Story of Ruth (1960). The book of Ruth tells the tale of how a non-Israelite outsider could be welcomed into the kingdom of God and ultimately into the lineage of Christ. Likewise, del Toro populates his tale with multiple outsiders—multiple ‘Ruths’—including a mute woman, an African American cleaner, a Russian Communist, and an elderly homosexual male. However, these are merely reflections of the ultimate outsider, Del Toro’s …

Biblical Coens: Can We Laugh Now?, Richard G. Walsh

Journal of Religion & Film

A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collection of essays, indicates that Coen brothers’ films frame characters in harsh, amoral worlds. This aesthetic “framing” is similar not only to Camus’ analysis of the absurd, but also to the “feel” of some biblical narratives. Where Camus urges one to move beyond the absurd to absurd creation and biblical narratives press on to faith—at least, in most religious readings of them—the Coens laugh. A selective overview of the use of bibles in Coen brothers’ films demonstrates that the Coens’ biblical hermeneutic is risible. Their films frame bibles …

Who Is Like God? The Deer Hunter As Angelic Allegory, Nicholas J. Schaser

Journal of Religion & Film

Michael Cimino’s The Deer Hunter utilizes Christian contexts and biblical motifs in order to present an allegory in which Michael (Robert De Niro) represents an angelic being. While Michael displays powers that parallel those of biblical angels, his lack of religious reverence and divine self-perception lead to a metaphorical fall in Vietnam. Michael’s friend Nick (Christopher Walken) is also an allegorical symbol for imperiled humanity in need of salvation. When Michael is unable to rescue Nick from a Russian roulette table in Saigon, Cimino’s film emerges as a theological statement about the problem of human violence and the necessity for …

An Old Film In A New Light: Lighting As The Key To Johannine Identity In "Ordet", Richard V. Goodwin

Journal of Religion & Film

In his essay on Carl Theodor Dreyer’s Ordet, P. Adams Sitney draws a parallel between the protagonist, Johannes, and John the Evangelist, author of the fourth gospel. He suggests that the delusional Johannes’s sanity returns upon the recovery of his own name, turning on the invocation of his biblical namesake, John the Evangelist. Compelling as Sitney’s is, however, I argue that we arrive at a more helpful interpretation by attending to an aspect that has been largely overlooked in critical discussion of the film: lighting. Careful analysis of the lighting yields a perspective in which Johannes is understood to …

Editorial In(Ter)Ventions: Comparing The Editorial Processes Of The Hebrew Bible And The Star Wars Saga, Timo Tekoniemi

Journal of Religion & Film

Canonicity and authority of one textual form over another, textual plurality, and scribal freedom in the early transmission of the Hebrew Bible have in the recent decades become prominent topics in the methodological discussions of biblical scholars. Since the discovery of the Dead Sea Scrolls, it has become clear that, when attempting to discern the oldest text of the Hebrew Bible, we are in need of new and better models of textual transmission that take into account all extant textual evidence. Working solely on the basis of the so-called Masoretic Text is no more methodologically tenable, especially when it comes …

The Problem With David: Masculinity And Morality In Biblical Cinema, Kevin M. Mcgeough

Journal of Religion & Film

The King David of the Bible, and especially as portrayed in the books of Samuel, is one of the most complex characters in ancient literature. We are told his story from his youth as a shepherd until his death as king of Israel. He kills a mighty warrior with a slingshot, goes to war with his king and later his son, and has an affair that threatens to throw his kingdom into disarray. The stories surrounding David seem perfect for cinematic adaptation yet what makes this character so compelling has been problematic for filmmakers. Here, three types of Biblical filmmaking …

Interview With Carlton Pearson, John C. Lyden

Journal of Religion & Film

Editor John Lyden had the opportunity for a conversation with Rev. Carlton Pearson, the subject of the Netflix film Come Sunday which premiered at the Sundance Film Festival 2018. They discussed Pearson's theology of inclusion and what led him to it.

2018 Bethsaida Field Report, Rami Arav

Field Reports

THE EXPEDITION

A two weeks session of excavations was conducted from June 25th to July 4th , 2018. Since the expedition was arranged late in time, the group of excavators was limited to 16 participants.

The team included the architects Kenneth Bensimon from Washington State, Nic Birt from New Zealand, co-director and area supervisor Dr. Carl Savage, Drew University, Dr. Stefania Peluso Greco-Roman pottery expert, Haifa University, photographer Hanan Shafir, co-director Dr. Jerome Hall, University of San Diego, and director Prof. Rami Arav, University of Nebraska at Omaha and the Hebrew Union College Jerusalem.

This year the expedition was lodged …

Revenge, Tony Michael

Journal of Religion & Film

This is a film review of Revenge (2017), directed by Coralie Fargeat.

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 …

How To Attain Liberation From A False World? The Gnostic Myth Of Sophia In Dark City (1998), Fryderyk Kwiatkowski

Journal of Religion & Film

In the second half of the 20th century, a fascinating revival of ancient Gnostic ideas in American popular culture could be observed. One of the major streams through which Gnostic ideas are transmitted is Hollywood cinema. Many works that emerged at the end of 1990s can be viewed through the ideas of ancient Gnostic systems: The Truman Show (1998), The Thirteenth Floor (1999), The Others (2001), Vanilla Sky (2001) or The Matrix trilogy (1999-2003).

In this article, the author analyses Dark City (1998) and demonstrates that the story depicted in the film is heavily indebted to the Gnostic myth of …

Screen Jesus: Portrayals Of Christ In Television And Film, Steven Vredenburgh

Journal of Religion & Film

This is a book review of Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Boulder, CO: Roman & Littlefield, 2012).

The Crimes Of Love. The (Un)Censored Version Of The Flood Story In Noah (2014), Wojciech Kosior

Journal of Religion & Film

A swift survey of Noah reviews clearly shows that the audience’s sensitivity was challenged in several regards; Noah was portrayed as a “religious extremist” and “borderline psychopath”, the Creator proved to be a “distant—unaware or uncaring—overseer”, while Aronofsky himself was said to have a “sinister purpose of leading people to believe that Christianity and Judaism are something they are not.” On closer examination, however, the above summarized pleas are not entirely relevant for two basic reasons. First, the movie consists of ideas that have been in use since antiquity, rearranged and composed into a new-old story and all the arguments …

Indigenous Helpers And Renegade Invaders: Ambivalent Characters In Biblical And Cinematic Conquest Narratives, L. Daniel Hawk

Journal of Religion & Film

This article compares the role of ambiguous character types in the national narratives of biblical Israel and modern America, two nations that ground their identities in myths of conquest. The types embody the tensions and ambivalence conquest myths generate by combining the invader/indigenous binary in complementary ways. The Indigenous Helper assists the invaders and signifies the land’s acquiescence to conquest. The Renegade Invader identifies with the indigenous peoples and manifests anxiety about the threat of indigenous difference. A discussion of these types in the book of Joshua, through the stories of Rahab and Achan, establishes a point of reference by …

Risen, Katie Turner

Journal of Religion & Film

This is a film review of Risen (2016), directed by Kevin Reynolds.

The Roles Of Violence In Recent Biblical Cinema: The Passion, Noah, And Exodus: Gods And Kings, Kevin M. Mcgeough

Journal of Religion & Film

When The Passion was released, its extremely graphic violence horrified critics and scholars of religion although its success at the box office indicates that this, if anything, made the story of Jesus more appealing for viewers. Now that more time has passed and expectations surrounding levels of acceptable violence in cinema have changed, it is worth reconsidering how cinematic violence is used as reception strategy in Biblical cinema. Considering The Passion with more recent Biblical films, Noah and Exodus: Gods and Kings, it becomes apparent that violence is not only used to expand laconic Biblical narratives but to invest …

2016 Bethsaida Field Report, Rami Arav, Carl Savage, Kate Raphael, Vanessa Workman, Kenneth M. Bensimon, Nicolae Roddy

Field Reports

No abstract provided.

Beyond The Confines Of Tolerance In Rachid Buchareb’S London River: Theological Discussion And Educational Approach To An Open Ended Film, Panayiotis A. Thoma Pth

Journal of Religion & Film

The article discusses Rachid Buchareb's film London River both from a theological and an educational point of view. Therefore I argue that this film may be of great use in the lesson of Religious Education (or other subjects that concern multicultural and inter-religious affairs), for it raises some crucial existential issues, mainly: how do people of different ethnic, religious and cultural backgrounds truly connect to one another especially in cases in which these exact differences may be the cause of extreme suffering. This is actually the thematic concept of the film. Based on the teachings of the Bible and particularly, …

An Evil Threat To Marriage, Children And The Future: Queer Theory, "The Passion Of The Christ," And Evangelical Political Rhetoric, Richard Wolff

Journal of Religion & Film

This article employs queer theory to analyze Mel Gibson’s film The Passion of the Christ (2004) for its portrayal of queer characters (Satan and Herod) in contrast with non-queer (Pilate and Claudia, Seraphia, Simon the Cyrene, and Mary, Christ’s mother), and how it depicts the former as evil and the latter as good. In particular, these contrasts involve self-indulgent or predatory sexual expression versus a healthy marital relationship, and evil versus loving influences over children, who represent hope for the future. Finally, the article looks at the film’s heavy marketing to American evangelicals and how the symbolic representations in the …

2015 Bethsaida Field Report, Rami Arav, Carl Savage, Nicolae Roddy, Gregory C. Jenks, Vanessa Workman, Kenneth M. Bensimon

Field Reports

The 2015 excavation season at Bethsaida took place during May 28th to July 3rd, 2015. Seventy six faculty, students and volunteers joined this season. The expedition was hosted in Ginosar Village, Kibbutz Ginosar. We are very grateful for the kind and efficient hospitality Ginosar team and members, provides us for more than 20 years.

The Virgin Mary On Screen: Mater Dei Or Just A Mother In Guido Chiesa’S Io Sono Con Te (I Am With You), Timothy J. Johnson, Barbara Ottaviani-Jones

Journal of Religion & Film

Guido Chiesa’s Io Sono con Te (I Am with You) offers a unique, albeit controversial take on Mary, the mother of Jesus. Filmed in Tunisia, and subject to criticism by Italian Catholic authorities and film critics alike, Io Sono con Te presents a rich anthropological-theological reflection on religion, culture, gender, and sacrifice. Not surprisingly, Chiesa draws on René Girard’s scapegoat theory throughout his film as he fashions Mary as the forceful protagonist in a familiar yet controversial story.

2014 Bethsaida Field Report, Rami Arav, Kate Raphael, Carl Savage, Nicolae Roddy, Toni Fisher, Gregory C. Jenks

Field Reports

The 2014 excavation season at Bethsaida took place during May 18th to July 5th. One hundred and twenty five faculty, students and volunteers took part in the expedition. The expedition was housed for four weeks at Kibbutz Hukok and two weeks at Kibbutz Ginosar. We are very grateful for the extraordinary hospitality that we have had in the two places.

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).

2013 Bethsaida Field Report, Rami Arav, Kate Raphael, Carl Savage, Nicolae Roddy, Toni Fisher, Gregory C. Jenks

Field Reports

The 2013 excavation season at Bethsaida took place between May 21 and June 28. About 120 faculty, students and volunteers participated in the excavation. The expedition was housed for the first two weeks at Kibbutz Hukok and four weeks at Kibbutz Ginosar. We are very grateful for the extraordinary hospitality that we have had in the two places.