Film and Media Studies Commons^™

Darlene Love: I Know Where I’Ve Been, Ken Derry

Journal of Religion & Film

This is a film review of Darlene Love: I Know Where I’ve Been (2026), directed by Barry Avrich.

Ancestors, Sherry Coman

Journal of Religion & Film

This is a film review of Ancestors (2026), directed by David Turpin.

Closing Night, Sherry Coman

Journal of Religion & Film

This is a film review of Closing Night (2026), directed by Cody Fern.

Man In Motion: The Rick Hansen Story, Sherry Coman

Journal of Religion & Film

This is a film review of Man in Motion: The Rick Hansen Story (2026), directed by Adrian Buitenhuis.

Idda, Sherry Coman

Journal of Religion & Film

This is a film review of Idda (2026), directed by Irene Dionisio.

What Film Is Good For: On The Values Of Spectatorship, Pablo Alzola

Journal of Religion & Film

This is a book review of Julian Hanich and Martin P. Rossouw, eds., What Film Is Good For: On the Values of Spectatorship (Oakland, CA: University of California Press, 2023).

Hollywood And The Nazis On The Eve Of War: The Case Of The Mortal Storm, Rachel Gordan

Journal of Religion & Film

This is a book review of Alexis Pogorelskin, Hollywood and the Nazis on the Eve of War: The Case of The Mortal Storm (Bloomsbury Academic, 2024).

Shoah: Bfi Film Classics, Matthew Page

Journal of Religion & Film

This is a book review of Sue Vice, Shoah: BFI Film Classics (BFI/Bloomsbury, 2026).

A Poetic History: Islamic And Japanese Parallels In Film, Joshua Polanski

Journal of Religion & Film

This is a book review of David Sander, A Poetic History: Islamic and Japanese Parallels in Film (Bloomsbury, 2026).

Cloud: Between Paris And Tehran: Kiarostami/Corbin/Lacan, Heba Arafa Abdelfattah

Journal of Religion & Film

This is a book review of Joan Copjec, Cloud: Between Paris and Tehran: Kiarostami/Corbin/Lacan (MIT Press, 2025).

Eternity, Leah R. Sisk

Journal of Religion & Film

This film review of Eternity was developed from an essay on how the film demonstrates the nature of choice, including William James's notion of a leap of faith.  The original essay was submitted for an undergraduate Philosophy and Religion class on American Pragmatism at Western Carolina University.

Disclosure Day, Christian Wilken

Journal of Religion & Film

This is a film review of Disclosure Day (2026), directed by Steven Spielberg.

Nothing Is As It Should Be: Estrangement, Threshold-Crossings, And Cosmic Struggle In David Lynch’S Blue Velvet And Lost Highway, Susanne Wigorts Yngvesson

Journal of Religion & Film

This article examines estrangement as a structuring existential and aesthetic principle in David Lynch’s Blue Velvet (1986) and Lost Highway (1997). Through close, plot-attentive readings intended to remain accessible to readers unfamiliar with Lynch, it argues that the films stage three interlocking dynamics: becoming a stranger to oneself, the fracturing of the ‘ground’ of ordinary existence, and life as a cosmic struggle in which human agency is partial and contested. Paul Tillich’s The Courage to Be provides the main theological–philosophical lens, clarifying how anxiety, non-being and courage shape scenes of desire, violence and transformation. Film-theoretical work on thresholds and cinematic …

Unidentified, Candace Mixon

Journal of Religion & Film

This is a film review of Unidentified (2026), directed by Haifaa al-Mansour.

No Place For Us: The Scapegoat Mechanism In The Early Genealogy Of The Outlaw Road Movie, Luke Smith

Journal of Religion & Film

This essay applies René Girard’s scapegoat mechanism to an early genealogy of the outlaw-couple-on-the-run narrative and of the outlaw road movie more broadly. Through readings of You Only Live Once (1937), They Live by Night (1948), Gun Crazy (1950), and Bonnie and Clyde (1967), it argues that scapegoating in these films operates as a process rather than a single final act: the outlaw couple is first marked and excluded from ordinary goods such as work, respectability, and domestic space, then publicly blamed as a cause of disorder, then amplified through mythmaking, circulation, and repetition until finally sacrificed in a closing …

Misread Before Being Known: Race, Religion, And Institutional Non-Inquiry In Abrogation, Franklin Livingston

Journal of Religion & Film

Institutions often arrive at certainty before they arrive at knowledge. This article names that mechanism institutional non-inquiry — the organizational habit through which visual and cultural assumptions substitute for direct verification, allowing identity classifications to solidify before the subject meaningfully enters the encounter. Unlike prejudice, racialization, or established theories of pre-reflexive social perception, institutional non-inquiry isolates the organizational encounter itself as the specific procedural moment at which collective interpretive habits make inquiry feel unnecessary. Examining Abrogation (2024), a micro-budget American independent feature following Daud Khan, a Brown Pakistani-American infectious disease specialist whose movement through evangelical, civic, and federal institutions repeatedly …

Moving On: Purgatorial Seriality And Unanswered Prayer In Lost’S “Ab Aeterno”, Christian Wilken

Journal of Religion & Film

“Ab Aeterno” (Lost, 6.09) distills the series’ religious logic with unusual explicitness by staging theodicy not as doctrine but as narrative procedure. This article argues that the episode converts Catholic sacramental form (confession, absolution, and penitential address) into a serial ethics of endurance in which closure is structurally deferred. Richard Alpert’s confession establishes a subject who seeks an authorized word that would stabilize suffering, yet the priest’s refusal (“I can’t”) installs a theology of unanswered prayer that becomes the template for Richard’s long durée of waiting. Jacob’s “cork” parable then supplies a katechontic justification of restraint: evil is not abolished …

Between Icon And State: Sergei Eisenstein's Ivan The Terrible, Milja Radovic

Journal of Religion & Film

Remembering the 80th anniversary of Sergei Eisenstein’s film Иван Грозный (Ivan the Terrible, 1944/1945), it is crucial to re-examine Eisenstein’s work, including his last film that became an unintentional ‘testament’ to cinema. Eisenstein’s mastery has been pivotal for understanding cinema and film language, the way this language operates, constructs and deconstructs and communicates historical realities. This paper focuses on a film that was made in two parts, Part I in 1944 and part II in 1945, to investigate Eisenstein’s approach to the subject of history, nation and religion. The research considers how this master of cinema contemplated intricate ideas and …

Piercing The Veil In Sinners: Theological Insights From The Juke Joint, Antonio D. Sison Cpps

Journal of Religion & Film

Celebrated as a critical and commercial success, Ryan Coogler’s genre-defying opus Sinners has also been considered as one of the most culturally significant films of 2025. It also promises to be one of the most theologically resonant films of the year. This is evinced not only in its thematic and literary bases but, importantly, in its very audiovisual language and grammar, its stylistic strategies qua film. As reasoned in this essay, Coogler’s film is a rich locus theologicus, a nexus for theological discovery and insight.Sinners kindles the hermeneutical impulse to dialogue with African American/Pan-Africa theologies exemplified by the …

A Metaphorical Passage To God: Simone Weil And Robert Bresson, V. G. Voigt Hogg Phd

Journal of Religion & Film

VOIGT HOGG_Abstract (REVISED)_Journal of Religion & Film_30 April 2026

This article contrasts the metaphysical and religious philosopher Simone Weil’s concepts of attachment and detachment with auteur director Robert Bresson’s method of subtraction. It argues for a commonality in their philosophy and cinema, that guides the reader or viewer respectively, to perceive a metaphorical passage to God through the lived experience of suffering. The article considers by what means does Weil and Bresson share a mutual commitment to understanding the state of the soul in affliction, while also acknowledging an opposition in the interpretation of detachment in relation to suicide. The …

Documenting The Ineffable: A Comparative Analysis Of Mystical Representation In Kimiavi’S The Garden Of Stones And Western Sufi Documentary, Hessam Abedini

Journal of Religion & Film

This article examines how documentary film attempts to represent mystical experience through comparative analysis of Parviz Kimiavi's The Garden of Stones (1976) and American documentaries featuring Samuel Lewis, particularly Sunseed (1973). Rather than assuming terms like "sacred" or "authentic," the study grounds its analysis in empirical definitions from William James, historical scholarship by Carl Ernst and Annemarie Schimmel, and literary theory from Fatemeh Keshavarz. Through detailed examination of specific scenes—Darvish Khan hanging stones from dead trees, Lewis leading ecstatic dances—the article demonstrates how different cinematic strategies approach documentary's epistemological limits when confronting ineffable experience.

The analysis corrects historical misunderstandings about …

Pussy Protest! Protest Zines To Uplift Marginalized Voices, Alekz Nelson

Theses/Capstones/Creative Projects

A publication of 4 separate zines made up of 12 pages each. The zines delve into the history of the Americans with Disabilities Act, trans women and their music artistry, lack of lesbian media, and inmate working conditions. These zines aim to not only raise awareness towards these issues, but spark action from readers by providing practical and doable options to pursue. With societal attitudes and political administrations becoming more conservative, spreading this information and awareness is vital to ensure that these alternatives ways of life are not forcibly erased.

Get Busy Living: Leaping Out Of Confinement With Kierkegaard In The Shawshank Redemption, Christian Wilken

Journal of Religion & Film

This article offers a Kierkegaardian reading of The Shawshank Redemption (1994), arguing that the film functions not as a miracle narrative but as a cinematic enactment of existential theology. While existing scholarship frequently interprets Shawshank through biblical typology or Foucauldian notions of incarceration, few consider how the film dramatizes Kierkegaard’s categories of anxiety, despair, and the leap of faith. Shawshank presents prison as more than a space of punishment—it becomes a refuge from the “dizziness of freedom,” a structured escape from the terrifying burden of possibility. Brooks’s suicide tragically embodies what Kierkegaard calls the “despair of weakness,” the inability to …

Numinous Matter: Time, Image, And The Sacred In Tarkovsky’S Cinema, Pamela Breda Phd

Journal of Religion & Film

In an era increasingly defined by acceleration, fragmentation, and commodification, the act of watching cinema has become subject to the same regimes of optimization that govern nearly all other domains of life. Streaming platforms quantify attention and the rhythms of visual consumption seem to be calibrated for distraction, rather than immersion. As film theorist Jonathan Beller stresses, in the contemporary attention economy, spectatorship itself becomes a form of labor enlisted into the machinery of value extraction. Within this cultural (and ocularcentric) regime to engage with the cinematic oeuvre of Andrei Tarkovsky is a radical counter-practice. Operating in the liminal space …

The Inscrutability Of Providence In Tarkovsky's Stalker, Peter G. Goldman

Journal of Religion & Film

Andrei Tarkovsky’s Stalker (1979) follows a spiritual journey that is at once literal and allegorical. The Zone, created by an alien visitation, is a place with conscious agency, and it reacts to those who enter its space. The Stalker says, rather obscurely, "it's as if we construct it according to our state of mind." How exactly the Zone responds to those who visit it is arguably the central question of the film. The Zone's agency is analogous to Providence in some sense, and the film is filled with Christian references on several levels. While most critics see Stalker as an …

Contemplative Absence: Sacred Experience In Abbas Kiarostami’S The Wind Will Carry Us And The Aesthetics Of Slow Cinema, Hessam Abedini

Journal of Religion & Film

This article examines how Abbas Kiarostami’s The Wind Will Carry Us (1999) creates sacred experience through systematic absence within contemporary slow cinema aesthetics. While previous scholarship has focused on religious content in spiritual cinema, this analysis demonstrates how formal techniques—particularly strategic concealment and extended duration—generate contemplative states without explicit religious references. Drawing on Paul Schrader’s transcendental style theory and recent slow cinema scholarship, the article traces how Kiarostami adapts Persian poetic traditions, particularly concepts of pardeh (veiling) and the interplay between bāṭin (hidden) and ẓāhir (manifest), to create meaning through what remains unseen. The dying woman who never appears, the …

Theology And The Films Of Christopher Nolan: Cinematic Transcendence, Travis W. Cooper

Journal of Religion & Film

This is a book review of Joel Mayward, Theology and the Films of Christopher Nolan: Cinematic Transcendence (Bloomsbury Academic/Fortress Academic, 2025).

Bollypolitics: Popular Hindi Cinema And Hindutva, Anand Taneja

Journal of Religion & Film

This is a book review of Ajay Gehlawat, Bollypolitics: Popular Hindi Cinema and Hindutva (Bloomsbury, 2024).

Filming Modernity And Islam In Colonial Egypt, Eid Mohamed

Journal of Religion & Film

This is a book review of Heba Arafa Abdelfattah, Filming Modernity and Islam in Colonial Egypt (Edinburgh: Edinburgh University Press, 2023).

Fear, Formation, And The Dark Transcendent: Two Theological Approaches To Horror, John W. Morehead

Journal of Religion & Film

This essay reviews two books: Bryan Stone, Christianity and Horror Cinema (Routledge Studies in Religion and Film) (New York: Routledge, 2025), and Ryan G. Duns, S.J., Theology of Horror: The Hidden Depths of Popular Films (Notre Dame: University of Notre Dame Press, 2025).