Religious Thought, Theology and Philosophy of Religion Commons^™

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.

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 …

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 …

Affirmative Transcendence: The Ethics Of Mazu And The Internal Expansion Of The Confucian Moral Imagination, Yu Pei

Journal of Religion & Film

This paper proposes and defends the concept of affirmative transcendence through a systematic analysis of the 2012 Chinese television drama Mazu (38 episodes, CCTV). Affirmative transcendence names a structure in which the protagonist achieves sacred status (shen 神) not by negating her human relationships but by maintaining them while exhibiting a mode of moral perception that exceeds the limits of role-based ethics. The paper argues that what is analytically distinctive about this structure is its internal character: the tradition is not rejected but exceeded, and the exceeding is accomplished through resources the tradition itself provides. The paper identifies two …

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 …

From Feeling To Faith: How Affective Experience Gives Rise To Religion, Asia Wewel

Theses/Capstones/Creative Projects

This paper argues that religion is the intelligible, structured response to distinct pressures arising from within human experience itself. Drawing on Schleiermacher, Otto, Kant, and Becker, the paper traces religion's emergence through four phases. The first establishes that religious feeling is pre-conceptual and categorically distinct from ordinary emotion. The second works through Otto's correction of Schleiermacher: the genuinely religious encounter is not dependence intensified but the numinous. The third shows that Kant, arriving from an entirely different direction, reaches the same destination: practical reason diagnoses a radical evil the will cannot correct alone, demanding an ethical commonwealth that mirrors …

Immigrants: Neighbors Or Strangers? An Analysis On Christian Thought And Immigration, Mariah G. Rivera

Theses/Capstones/Creative Projects

This thesis examines the relationship between Christian thought and perspectives on immigration in the United States, particularly in the context of the current Trump administration, which is focusing heavily on restrictive immigration policies. It explores the historical relationship between religion and government through government commissions, as well as changes in key immigration policies such as the “sensitive locations” guidelines affecting enforcement at and near places of worship. Drawing on biblical scripture, the thesis identifies key themes of loving the stranger, assisting the vulnerable, and obeying governing authorities, all of which inform Christian interpretations of immigration.

Through analysis of national and …

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 …

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 …

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).

100 Years Of Sergei Eisenstein: Iconographic Language And Revolution, Milja Radovic

Journal of Religion & Film

As we commemorate the 100th anniversary of Sergei Eisenstein’s masterpiece Броненосец Потёмкин / Battleship Potemkin (1925), it is essential to re-examine the film that has had enduring influence on film theory, history, and scholarship. Voted one of the greatest films of all time, Eisenstein’s cinematic genius has been crucial to understanding the power of film language. This paper focuses on the underexplored relationship between Eisenstein’s film language and iconography, examining the ways in which Orthodox Christian iconography shaped the story of revolution. The paper delves into the ways in which Eisenstein conveyed complex ideas, demonstrating the technical developments of film …

The Theological Power Of Film, Irena Sever Globan

Journal of Religion & Film

This is a book review of James Lorenz, The Theological Power of Film (New York: Routledge, 2024).

Inside Out 2, Bertha A. Manninen Ph.D.

Journal of Religion & Film

This is a film review of Inside Out 2 (2024), directed by Kelsey Mann.

Learning To See: Wittgenstein And Perception In Terrence Malick’S The Thin Red Line, Luke H. Roberts

Journal of Religion & Film

This paper reflects on Ludwig Wittgenstein’s influence on the work of filmmaker Terrence Malick. After calling attention to the connection between the American director and the Austrian philosopher, I note central components of Wittgenstein’s philosophical aims, particularly highlighting his comments on “aspect change,” his methodology of difficulty, and his linking of the ethical and aesthetic as “transcendental.” With these insights in hand, and following recent scholarship on Malick’s cinematic ethics, the paper examines Malick’s 1998 film The Thin Red Line as an exemplary case for considering Malick as a filmmaker fundamentally concerned with ways of seeing the world. The analysis …

Reframing Space: Religion, History, And Memory In The Early Documentary Film Of The Yugoslav Space, Milja Radovic

Journal of Religion & Film

This paper examines cinematic representations of religion and religious communities in the early cinema of the Yugoslav space. This paper introduces the readers to the rich heritage of the cinema of the Yugoslav space by providing 1) the first study of the representations of religion and the concepts of faith in the early film, and 2) novel approaches in reading religion and history through film. Film is used as a primary rather than supplementary source in historical research on diverse religious and ethnic communities in this part of the Balkan Peninsula. This is the first study that investigates the importance, …

Peele’S Black, Extraterrestrial, Naturalistic Critique Of Religion, Jonathan D. Lyonhart

Journal of Religion & Film

While Jordan Peele’s films have always held their mysteries close to the chest, they eventually granted their viewers some climactic clarity. Get Out (2017) used an 1980s style orientation video to clear up its neuroscientific twist, while Us (2019) had Lupita Nyongo’s underworld twin narratively spell out the details of the plot. Yet Nope (2022) refuses to show its hand even after the game is over, never illuminating the connection between its opening scene and the broader film, nor a myriad of other questions. As such, critics complained that it stitched together two seemingly incongruent plots without explanation; one where …

Justice For All: Moira, Tyche And Nemesis In The Marvel Cinematic Universe, Jason Osborne

Journal of Religion & Film

This article explores the ways in which the ancient concepts of moira, tyche, and nemesis permeate the films and series of the Marvel Cinematic Universe.

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 …

Frederick Wiseman's Essene (1972): The Duality Of Mary And Martha, Nilita Vachani

Journal of Religion & Film

America’s legendary documentary filmmaker Frederick Wiseman shot Essene 50 years ago at the height of the commune movement in the United States. Unlike his previous institutional films which showcase an insane asylum, a public high school, an inner city police force, a hospital, and a military training school, Essene's canvas is the far less turbulent terrain of a serene and austere Benedictine monastery devoted to the love and service of God and the divine spirit. This paper undertakes a close textual and hermeneutic analysis of Essene alongside an appraisal of Wiseman’s working methodology, his cinematic portrayals of character and dramaturgy, …

How It Ends, John C. Lyden

Journal of Religion & Film

This is a film review of How It Ends (2021), directed by Daryl Wein and Zoe Lister-Jones.

Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright

Journal of Religion & Film

John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène.

Hail, Caesar! A Jesus Film In Search Of A Christ Figure, Jon Coutts

Journal of Religion & Film

For over a century the moving picture has been a medium ripe for propagation or exploration of the story of Christ. Since the first wave hit screens in the late 1890s and early 1900s, the list of so-called “Jesus films” has come to number in the dozens. Given that Joel and Ethan Coen’s 2016 Hail, Caesar!­ sets itself up as a reprisal of such films, the question is how to interpret it. To explore this, interpretation of the film is framed by consideration of the Coen brothers' attention to religious themes, is set against the backdrop of the second wave …

The Moving Image And The Time Of Prophecy: Trauma And Precognition In L. Von Trier’S Melancholia (2011) And D. Villeneuve’S Arrival (2016), Luca Zanchi

Journal of Religion & Film

Both the deferred recurrence of post-traumatic symptoms and the foresight granted by prophetic vision bring about a disruption of temporality and generate a chronological discontinuity which is often formally rendered as narrative discontinuity. This similarity produces an interpretive ambiguity that is central to the films, Melancholia (2011) by Von Trier and Arrival (2016) by Denis Villeneuve. Both movies begin by hinting at the post-traumatic origin of visions and then gradually shift towards a prophetic explanation. In addressing these two case studies, this article approaches prophecy and its temporality from a narratological perspective, integrating the critical parameters of trauma-theory with the …

Of God, Humanity, And The World: Reflections On "The Truman Show", Robert S. Gall

Journal of Religion & Film

Popular analysis of The Truman Show generally has focused on the comments the movie is making about our media culture and corporate influence in our lives. However, as the names of the lead characters (Truman, Christof) suggest, there is more to the movie than a critique of corporate media culture. With echoes of stories of the Garden of Eden, the Book of Job, and promises of heaven, the movie raises interesting and troubling questions about the nature of God and his relation to humanity in the Western tradition. With echoes of Descartes’ “evil genius” and how we come to know …

Touched By Grace? A Look At Grace In Bergman's Winter Light And Martin Luther's Writings, Kjartan Leer-Salvesen

Journal of Religion & Film

Ingmar Bergman holds a prominent place in the lineup of directors who have used cinema to investigate the meaning of life in a godless world. The so-called “Trilogy of God’s Silence” is often identified as the place where Bergman struggled most profoundly with core themes from the Christian faith. In Winter Light, he explores the topic of doubt, devastatingly, through a minister’s religious and existential crisis. This article, however, proposes that Martin Luther’s theology may provide resources for reappraising Bergman’s canonical film.

Eternal Now: Recent Time Loop Movies And The Sanctity Of The Moment, John C. Lyden

Journal of Religion & Film

I will examine three time-loop films—Source Code (2011), About Time (2013), and Before I Fall (2017)—to suggest that while they all look to this world as the place where meaning can be found, they do not entirely reject transcendence. The hero of Source Code actually transcends the cycle only when he accepts to exist in it fully, suggesting a view like Buddhism that one only finds transcendence when one stops looking for it. In About Time the hero learns that he must accept certain things that he cannot change, and that his ability to relive the past without changing …

Neo-Gnosticism At The Movies, Michael Kaler

Journal of Religion & Film

A number of American films released in the mid/late 1990s drew on, or have been discussed in the context of, gnosticism—a loose, imprecise umbrella term usually applied to a number of heterodox early Christian literary traditions. The Matrix is the most famous of this group of films, which also includes such films as Pleasantville, Dark City, The Truman Show, and Thirteenth Floor. This curious trend would not have been possible had it not been for the emergence of gnosticism in mainstream culture generally; as well, gnosticism’s emphasis on the spectacular, constructed and ultimately illusory nature of apparent reality became especially …

Terrence Malick Beyond Nature And Grace: Song To Song And The Experience Of Forgiveness, Elisa Zocchi

Journal of Religion & Film

In The Tree of Life Terrence Malick poses the question of the relation between the order of grace and the order of nature in the cosmos and in human existence, a question presented through the relation of mother and father in the O'Brien family. The aim of this article is to analyze this issue and to present the role of glory in The Tree of Life as the transfiguration of nature operated by grace. Specifically, the example of forgiveness as one strand of this glory seems to be an helpful tool to understand the movie. Forgiveness, already present in The …

Star Wars: The Last Jedi, Gregory Chad Wilkes

Journal of Religion & Film

This is a film review of Star Wars: The Last Jedi (2017) directed by Rian Johnson.

Come Sunday, John C. Lyden

Journal of Religion & Film

This is a film review of Come Sunday (2018) directed by Joshua Marston.