Adele Reinhartz
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780195146967
- eISBN:
- 9780199785469
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146967.001.0001
- Subject:
- Religion, History of Christianity
This book is a study of the movies made about Jesus, from the earliest silent films through to Mel Gibson's 2004 The Passion of the Christ. Its main argument is that these movies fit into the ...
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This book is a study of the movies made about Jesus, from the earliest silent films through to Mel Gibson's 2004 The Passion of the Christ. Its main argument is that these movies fit into the “biopic” (biographical film) genre and they tell the story of Jesus according to the standard biopic template. The Jesus biopics exhibit three principal characteristics. First, they make a claim to historicity or historical authenticity. Second, and at the same time, they undermine that claim in ways that are both subtle and overt. Third, they use the Jesus story as a lens through which to view and to work out contemporary concerns, such as sexuality, ethnic identity, theology, and the relationship between religion and politics. The approach is thematic, and the chapters are organized by character, including the Holy Family (Mary, Joseph, and God), Jesus' friends and associates (Mary Magdalene and Judas) and his enemies (Pharisees, Caiaphas, and Pilate). Despite the title, the book addresses films made both in the United States and elsewhere. The point is not to overlook the profound differences among the various national cinemas which have produced Jesus movies, but to argue that all bear the imprint of the Hollywood biopic, whether in imitation of its conventions or in conscious resistance to them.Less
This book is a study of the movies made about Jesus, from the earliest silent films through to Mel Gibson's 2004 The Passion of the Christ. Its main argument is that these movies fit into the “biopic” (biographical film) genre and they tell the story of Jesus according to the standard biopic template. The Jesus biopics exhibit three principal characteristics. First, they make a claim to historicity or historical authenticity. Second, and at the same time, they undermine that claim in ways that are both subtle and overt. Third, they use the Jesus story as a lens through which to view and to work out contemporary concerns, such as sexuality, ethnic identity, theology, and the relationship between religion and politics. The approach is thematic, and the chapters are organized by character, including the Holy Family (Mary, Joseph, and God), Jesus' friends and associates (Mary Magdalene and Judas) and his enemies (Pharisees, Caiaphas, and Pilate). Despite the title, the book addresses films made both in the United States and elsewhere. The point is not to overlook the profound differences among the various national cinemas which have produced Jesus movies, but to argue that all bear the imprint of the Hollywood biopic, whether in imitation of its conventions or in conscious resistance to them.
Kay Dickinson
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780195326635
- eISBN:
- 9780199851676
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195326635.001.0001
- Subject:
- Music, Popular
This book offers a study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary ...
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This book offers a study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary reviews and histories of the turn to post-industrialization, the book expands the ways in which the union of the film and music businesses can be understood. Moving beyond the typical understanding of film music that privileges the score, the book also incorporates analyses of rock 'n' roll movies, composer biopics, and pop singers crossing over into acting. By doing this, it provides a fuller picture of how two successful entertainment sectors have sought out synergistic strategies, ones whose alleged “failures” have much to tell about the labor practices of the creative industries, as well as our own relationship to them and to work itself.Less
This book offers a study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary reviews and histories of the turn to post-industrialization, the book expands the ways in which the union of the film and music businesses can be understood. Moving beyond the typical understanding of film music that privileges the score, the book also incorporates analyses of rock 'n' roll movies, composer biopics, and pop singers crossing over into acting. By doing this, it provides a fuller picture of how two successful entertainment sectors have sought out synergistic strategies, ones whose alleged “failures” have much to tell about the labor practices of the creative industries, as well as our own relationship to them and to work itself.
Melanie Jane Wright
- Published in print:
- 2002
- Published Online:
- November 2003
- ISBN:
- 9780195152265
- eISBN:
- 9780199834884
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195152263.001.0001
- Subject:
- Religion, Biblical Studies
This book is about the representation of Moses and the Exodus narrative in three North American texts: Moses in Red by Lincoln Steffens; Moses, Man of the Mountain (1926), by Zora Neale Hurston ...
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This book is about the representation of Moses and the Exodus narrative in three North American texts: Moses in Red by Lincoln Steffens; Moses, Man of the Mountain (1926), by Zora Neale Hurston (1939), and Cecil B. DeMille's film, The Ten Commandments (1956). It does not seek to judge the merits of these works, but rather to ask why and how they recast the biblical narrative as they did, and how their images of Moses were received. The study holds in tension the roles of producers and consumers, valuing both as interpreters and creators of the Moses story.Drawing on insights from cultural studies the books and the film are located in the “religious” contexts of their day (e.g., in relation to changing attitudes to biblical interpretation and authority, and to popular movements within American religion) and in broader political frameworks (e.g., in relation to conflicts like the Cold War, or vis‐a‐vis ethnic or gender issues). In examining Steffens's, Hurston's and DeMille's Moses images, this book lays bare the dynamics involved in the afterlife of a figure who remains central to the identity of American civilization. It also argues that the scope of biblical studies should develop to embrace more fully, the critical study of popular culture and the ways in which “ordinary people” think about the Bible.Less
This book is about the representation of Moses and the Exodus narrative in three North American texts: Moses in Red by Lincoln Steffens; Moses, Man of the Mountain (1926), by Zora Neale Hurston (1939), and Cecil B. DeMille's film, The Ten Commandments (1956). It does not seek to judge the merits of these works, but rather to ask why and how they recast the biblical narrative as they did, and how their images of Moses were received. The study holds in tension the roles of producers and consumers, valuing both as interpreters and creators of the Moses story.
Drawing on insights from cultural studies the books and the film are located in the “religious” contexts of their day (e.g., in relation to changing attitudes to biblical interpretation and authority, and to popular movements within American religion) and in broader political frameworks (e.g., in relation to conflicts like the Cold War, or vis‐a‐vis ethnic or gender issues). In examining Steffens's, Hurston's and DeMille's Moses images, this book lays bare the dynamics involved in the afterlife of a figure who remains central to the identity of American civilization. It also argues that the scope of biblical studies should develop to embrace more fully, the critical study of popular culture and the ways in which “ordinary people” think about the Bible.
Mohd Asaduddin and Anuradha Ghosh (eds)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780198075936
- eISBN:
- 9780199081851
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198075936.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Similar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing ...
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Similar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing conventions surrounding them. When discussing films, one cannot overlook the aspect of entertainment. The experience of reading a novel definitely differs from the experience of watching a film. This process is what defies easy translation into film. The film and the novel are intimately connected, as seen in the sheer number of films based on novels. In the case of India, the history of the relationship between cinema and literature has been an integral one. This book explores the mutual relationship between film and fiction in India, focusing on legendary writers Rabindranath Tagore and Premchand and noted filmmaker Satyajit Ray. Drawing upon the insights of leading academics and emerging scholars in the field, it investigates the complex process of film adaptation of the novel. The book looks at three Ray adaptations of Tagore: Teen Kanya (1961), Charulata (1964), and Ghare Baire (1984), as well as two films based on short stories by Premchand—‘Shatranj Ke Khiladi’ (1977) and ‘Sadgati’ (1981). In addition, it examines Ray's adaptation of Tagore's ‘Noshto Neerh’, his rendering of history, and Premchand's ‘Sadgati’ in terms of Ray's handling of the Dalit question.Less
Similar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing conventions surrounding them. When discussing films, one cannot overlook the aspect of entertainment. The experience of reading a novel definitely differs from the experience of watching a film. This process is what defies easy translation into film. The film and the novel are intimately connected, as seen in the sheer number of films based on novels. In the case of India, the history of the relationship between cinema and literature has been an integral one. This book explores the mutual relationship between film and fiction in India, focusing on legendary writers Rabindranath Tagore and Premchand and noted filmmaker Satyajit Ray. Drawing upon the insights of leading academics and emerging scholars in the field, it investigates the complex process of film adaptation of the novel. The book looks at three Ray adaptations of Tagore: Teen Kanya (1961), Charulata (1964), and Ghare Baire (1984), as well as two films based on short stories by Premchand—‘Shatranj Ke Khiladi’ (1977) and ‘Sadgati’ (1981). In addition, it examines Ray's adaptation of Tagore's ‘Noshto Neerh’, his rendering of history, and Premchand's ‘Sadgati’ in terms of Ray's handling of the Dalit question.
Ward E. Jones and Samantha Vice (eds)
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195320398
- eISBN:
- 9780199869534
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195320398.001.0001
- Subject:
- Philosophy, Moral Philosophy, General
Ethics at the Cinema is a collection of original philosophical papers on film. Contributors were invited to engage with ethical issues raised within, or within the process of viewing, a ...
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Ethics at the Cinema is a collection of original philosophical papers on film. Contributors were invited to engage with ethical issues raised within, or within the process of viewing, a single film; they were given the freedom to write on a topic and film of their choice. All contributors have previously written in ethics and/or the philosophy of film, but they come from a wide range of traditions and backgrounds within both. The collection is divided into two parts: ‘Part 1: Critique, Character, and the Power of Film’, and ‘Part 2: Philosophical Readings’. The papers in Part 1 engage explicitly with meta-issues surrounding film, film narratives, and film viewing. The papers comprising Part 2 are engaged less with issues about film than with the details of their chosen film: its characters, its plot, and its particular uses of images.Less
Ethics at the Cinema is a collection of original philosophical papers on film. Contributors were invited to engage with ethical issues raised within, or within the process of viewing, a single film; they were given the freedom to write on a topic and film of their choice. All contributors have previously written in ethics and/or the philosophy of film, but they come from a wide range of traditions and backgrounds within both. The collection is divided into two parts: ‘Part 1: Critique, Character, and the Power of Film’, and ‘Part 2: Philosophical Readings’. The papers in Part 1 engage explicitly with meta-issues surrounding film, film narratives, and film viewing. The papers comprising Part 2 are engaged less with issues about film than with the details of their chosen film: its characters, its plot, and its particular uses of images.
Louis-Georges Schwartz
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195315059
- eISBN:
- 9780199871995
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195315059.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book examines the history of evidentiary film and video in United States Courts. Case-law and other documents trace the development of rules for the use and interpretation of moving images ...
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This book examines the history of evidentiary film and video in United States Courts. Case-law and other documents trace the development of rules for the use and interpretation of moving images at trail. The book analyzes the differences between the use of film and video in court and their use in the cinema.Less
This book examines the history of evidentiary film and video in United States Courts. Case-law and other documents trace the development of rules for the use and interpretation of moving images at trail. The book analyzes the differences between the use of film and video in court and their use in the cinema.
Gregory J. Watkins
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.001.0001
- Subject:
- Religion, Religion and Society
In a culture increasingly focused on visual media, the use of movies in religious studies and theology classrooms has far outpaced both the scholarship on religion and film and the study of ...
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In a culture increasingly focused on visual media, the use of movies in religious studies and theology classrooms has far outpaced both the scholarship on religion and film and the study of pedagogical practices in the field. This volume makes great strides on both fronts. The seventeen contributors to this volume, many of them leaders in this area, provide an overview of the main approaches to religion and film studies, argue for advancements in theoretical approaches, and consider the practical realities of teaching religion and film. Part I presents general categories for thinking about the intersection between religion and film, as well as an argument for an emerging line of theoretical inquiry. The chapters in Part II examine the use of film in teaching religious traditions, whether movies are seen from the critical perspective of particular religious traditions or are used to teach the traditions themselves. Part III focuses on the use of film in the religious studies classroom, where religion or theories of religion are more generally addressed. Part IV considers the promise and challenge of using films to teach critical perspectives on fundamental human values, whether films are seen as vehicles for bringing stories into the classroom or as powerful indicators of a culture's core values.Less
In a culture increasingly focused on visual media, the use of movies in religious studies and theology classrooms has far outpaced both the scholarship on religion and film and the study of pedagogical practices in the field. This volume makes great strides on both fronts. The seventeen contributors to this volume, many of them leaders in this area, provide an overview of the main approaches to religion and film studies, argue for advancements in theoretical approaches, and consider the practical realities of teaching religion and film. Part I presents general categories for thinking about the intersection between religion and film, as well as an argument for an emerging line of theoretical inquiry. The chapters in Part II examine the use of film in teaching religious traditions, whether movies are seen from the critical perspective of particular religious traditions or are used to teach the traditions themselves. Part III focuses on the use of film in the religious studies classroom, where religion or theories of religion are more generally addressed. Part IV considers the promise and challenge of using films to teach critical perspectives on fundamental human values, whether films are seen as vehicles for bringing stories into the classroom or as powerful indicators of a culture's core values.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0017
- Subject:
- Religion, Religion and Society
Film has largely replaced theater as the dramatic medium for Mormon artists. Film was early employed in the anti-Mormon campaign, and Mormons learned early to use it for their own purposes. ...
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Film has largely replaced theater as the dramatic medium for Mormon artists. Film was early employed in the anti-Mormon campaign, and Mormons learned early to use it for their own purposes. Evangelistic (missionary films) and public relations varieties (Homefront series) have given way to a recent generation of talented filmmakers who are creating two kinds: one is an insider genre, while the other explores ways of informing popular film with a Mormon sensibility.Less
Film has largely replaced theater as the dramatic medium for Mormon artists. Film was early employed in the anti-Mormon campaign, and Mormons learned early to use it for their own purposes. Evangelistic (missionary films) and public relations varieties (Homefront series) have given way to a recent generation of talented filmmakers who are creating two kinds: one is an insider genre, while the other explores ways of informing popular film with a Mormon sensibility.
Alice Bach
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.003.0006
- Subject:
- Religion, Religion and Society
With a wealth of material already published on the general project of matching films with biblical texts (especially within the “sword‐and‐sandal” genre), this chapter proposes a new method that uses ...
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With a wealth of material already published on the general project of matching films with biblical texts (especially within the “sword‐and‐sandal” genre), this chapter proposes a new method that uses documentaries about Palestinians and Israelis in order to approach critical theory and religion. Instead of engaging students in film criticism by comparing text to film representation, documentaries involve the students in the social criticism those very same texts present. This chapter includes appendices with extensive bibliographies on Bible and film, as well as religion and film material.Less
With a wealth of material already published on the general project of matching films with biblical texts (especially within the “sword‐and‐sandal” genre), this chapter proposes a new method that uses documentaries about Palestinians and Israelis in order to approach critical theory and religion. Instead of engaging students in film criticism by comparing text to film representation, documentaries involve the students in the social criticism those very same texts present. This chapter includes appendices with extensive bibliographies on Bible and film, as well as religion and film material.
Gregory J. Watkins
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.003.0018
- Subject:
- Religion, Religion and Society
This chapter reports on a course that successfully uses film to introduce students to the basic theoretical approaches to the study of religion. In conjunction with primary text selections from some ...
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This chapter reports on a course that successfully uses film to introduce students to the basic theoretical approaches to the study of religion. In conjunction with primary text selections from some of the great theorists of religion, students use the films they see to deepen their appreciation and consideration of the various theoretical orientations while asking about the nature of film itself. The course is guided by an overarching consideration of the proposition that film makes possible a unique articulation of religious thought and experience. The chapter also discusses some of the practical challenges of making film viewing a central part of the work in the course, from the logistics of screenings to the use of film clips on exams.Less
This chapter reports on a course that successfully uses film to introduce students to the basic theoretical approaches to the study of religion. In conjunction with primary text selections from some of the great theorists of religion, students use the films they see to deepen their appreciation and consideration of the various theoretical orientations while asking about the nature of film itself. The course is guided by an overarching consideration of the proposition that film makes possible a unique articulation of religious thought and experience. The chapter also discusses some of the practical challenges of making film viewing a central part of the work in the course, from the logistics of screenings to the use of film clips on exams.
Gary D. Rhodes and Robert Singer
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474460682
- eISBN:
- 9781474481083
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474460682.001.0001
- Subject:
- Film, Television and Radio, Film
The American television commercial exhibits an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American TelevisionCommercial ...
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The American television commercial exhibits an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American TelevisionCommercial establishes the complex vitality of the television commercial both as a short film and as an art form. Through close and comparative readings, the book examines the influence of Hollywood film styles on the television commercial, and the resulting influence of the television commercial on Hollywood, exploring an intertwined aesthetic and technical relationship.
Analysing key commercials over the decades that feature new technologies and film aesthetics that were subsequently adopted by feature filmmakers, the book establishes the television commercial as film art.Less
The American television commercial exhibits an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American TelevisionCommercial establishes the complex vitality of the television commercial both as a short film and as an art form. Through close and comparative readings, the book examines the influence of Hollywood film styles on the television commercial, and the resulting influence of the television commercial on Hollywood, exploring an intertwined aesthetic and technical relationship.
Analysing key commercials over the decades that feature new technologies and film aesthetics that were subsequently adopted by feature filmmakers, the book establishes the television commercial as film art.
Carol O'Sullivan and Jean-François Cornu (eds)
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266434
- eISBN:
- 9780191884191
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266434.001.0001
- Subject:
- Film, Television and Radio, Film
This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last ...
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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century.
This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film.
The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.Less
This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century.
This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film.
The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.001.0001
- Subject:
- Religion, Religion and Society
This book is an exploration of the Mormon cultural identity that Joseph Smith and, to a lesser extent, Brigham Young founded. At the heart of their thinking were a number of dynamic tensions, or ...
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This book is an exploration of the Mormon cultural identity that Joseph Smith and, to a lesser extent, Brigham Young founded. At the heart of their thinking were a number of dynamic tensions, or paradoxes, that give Mormon cultural expression much of its vitality. Arguing that culture can be viewed as the result of a people's efforts to accommodate such irresolvable tensions, Givens looks at the Mormon “habit of mind”, and forms of artistic expression to trace consistent themes and ideas that constitute, or contribute to the formation of a distinct cultural community. This study begins by examining four especially rich and fertile tensions, or thematic pairings in Mormon thought, that have inspired recurrent and sustained engagement on the part of writers, artists, and thinkers in the Mormon community. The safety and strictures of centralized authority, the rhetoric and promise of theological certainty, the collapse of the sacred into the banal, and the retreat into chosen isolation all find their opposite temptation in the allure of radical individualism, the endless and endlessly deferred nature of saving knowledge, the yearning for a theology of transcendence, and the angst of alienation. As Mormonism continues its evolution from American denomination to a new religious tradition and world-wide faith, this study represents a timely look at the role of cultural achievement and self-representation in that process. Genres treated include education, intellectual life, architecture, music and dance, theater (drama) film, literature, and visual art.Less
This book is an exploration of the Mormon cultural identity that Joseph Smith and, to a lesser extent, Brigham Young founded. At the heart of their thinking were a number of dynamic tensions, or paradoxes, that give Mormon cultural expression much of its vitality. Arguing that culture can be viewed as the result of a people's efforts to accommodate such irresolvable tensions, Givens looks at the Mormon “habit of mind”, and forms of artistic expression to trace consistent themes and ideas that constitute, or contribute to the formation of a distinct cultural community. This study begins by examining four especially rich and fertile tensions, or thematic pairings in Mormon thought, that have inspired recurrent and sustained engagement on the part of writers, artists, and thinkers in the Mormon community. The safety and strictures of centralized authority, the rhetoric and promise of theological certainty, the collapse of the sacred into the banal, and the retreat into chosen isolation all find their opposite temptation in the allure of radical individualism, the endless and endlessly deferred nature of saving knowledge, the yearning for a theology of transcendence, and the angst of alienation. As Mormonism continues its evolution from American denomination to a new religious tradition and world-wide faith, this study represents a timely look at the role of cultural achievement and self-representation in that process. Genres treated include education, intellectual life, architecture, music and dance, theater (drama) film, literature, and visual art.
Shawn Malley
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941190
- eISBN:
- 9781789629088
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941190.001.0001
- Subject:
- Film, Television and Radio, Film
Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ ...
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Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.Less
Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.
Christopher Deacy
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.003.0009
- Subject:
- Religion, Religion and Society
While identifying Christ figures in films can be a provocative and productive classroom tool, seeing such films as a mere illustration of theology can be ultimately superficial and misleading. When ...
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While identifying Christ figures in films can be a provocative and productive classroom tool, seeing such films as a mere illustration of theology can be ultimately superficial and misleading. When is theology in a film, and when is theology brought to a film? Although much academic writing has focused on identifying Christ figures in the movies, this chapter takes a step back and examines the interplay between film and theology more generally around the theme of the Christ figure, with implications for both teaching and theory.Less
While identifying Christ figures in films can be a provocative and productive classroom tool, seeing such films as a mere illustration of theology can be ultimately superficial and misleading. When is theology in a film, and when is theology brought to a film? Although much academic writing has focused on identifying Christ figures in the movies, this chapter takes a step back and examines the interplay between film and theology more generally around the theme of the Christ figure, with implications for both teaching and theory.
Amir Hussain
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.003.0010
- Subject:
- Religion, Religion and Society
This chapter will be useful to those who want to incorporate film into their introductory course on Islam. It discusses the representations of Islam and of Muslim lives in contemporary Western films ...
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This chapter will be useful to those who want to incorporate film into their introductory course on Islam. It discusses the representations of Islam and of Muslim lives in contemporary Western films and the way in which these relate to the particular challenges of using movies to teach Islam. The chapter describes various motion pictures to give a sense of the range of Islamic issues that movies can productively portray, including fundamentalism and assimilation. There is also a discussion of films from the Muslim world (most notably Iran) that depict Muslim life in a way that is not usually seen in Western films. Tips on the use of documentary films about Islam are also provided.Less
This chapter will be useful to those who want to incorporate film into their introductory course on Islam. It discusses the representations of Islam and of Muslim lives in contemporary Western films and the way in which these relate to the particular challenges of using movies to teach Islam. The chapter describes various motion pictures to give a sense of the range of Islamic issues that movies can productively portray, including fundamentalism and assimilation. There is also a discussion of films from the Muslim world (most notably Iran) that depict Muslim life in a way that is not usually seen in Western films. Tips on the use of documentary films about Islam are also provided.
Adele Reinhartz
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780195146967
- eISBN:
- 9780199785469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146967.003.0001
- Subject:
- Religion, History of Christianity
The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy ...
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The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy at least to some degree. What they do best, however, is provide a vehicle through which filmmakers can address contemporary concerns. This chapter explains the biopic genre and provides a historical introduction to the major Jesus films that will be considered in the study.Less
The Jesus movies are to be viewed as “biopics”, that is, biographical films. As such, they follow the narrative template common to this genre and make a claim to authenticity or historical accuracy at least to some degree. What they do best, however, is provide a vehicle through which filmmakers can address contemporary concerns. This chapter explains the biopic genre and provides a historical introduction to the major Jesus films that will be considered in the study.
Gaye Williams Ortiz
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.003.0012
- Subject:
- Religion, Religion and Society
This chapter is a case study of a course offered in the theology and religious studies department of York Saint John College, an upper‐level undergraduate course titled Women, Theology, and Film. It ...
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This chapter is a case study of a course offered in the theology and religious studies department of York Saint John College, an upper‐level undergraduate course titled Women, Theology, and Film. It was designed to synthesize a variety of theological, feminist, and film criticism perspectives in exploring the representation of women in movies. The particular challenge for the teacher, then, was twofold: how to integrate feminist theology with feminist film theory in a way that retained the integrity and the rigor of both disciplines, and how to make the course accessible to a group of students who might display an extreme range of theological skills (from none to advanced). This chapter first addresses the rationale and delivery of the course and then discusses some of the opportunities and challenges posed by this interdisciplinary approach.Less
This chapter is a case study of a course offered in the theology and religious studies department of York Saint John College, an upper‐level undergraduate course titled Women, Theology, and Film. It was designed to synthesize a variety of theological, feminist, and film criticism perspectives in exploring the representation of women in movies. The particular challenge for the teacher, then, was twofold: how to integrate feminist theology with feminist film theory in a way that retained the integrity and the rigor of both disciplines, and how to make the course accessible to a group of students who might display an extreme range of theological skills (from none to advanced). This chapter first addresses the rationale and delivery of the course and then discusses some of the opportunities and challenges posed by this interdisciplinary approach.
Chris Berry, Nicola Liscutin, and Jonathan D. Mackintosh
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099746
- eISBN:
- 9789882206793
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099746.001.0001
- Subject:
- Society and Culture, Asian Studies
These essays highlight regional cross-fertilization in music, film, new media, and popular culture in Northeast Asia. They include analysis of gender and labor issues amid differing regulatory ...
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These essays highlight regional cross-fertilization in music, film, new media, and popular culture in Northeast Asia. They include analysis of gender and labor issues amid differing regulatory frameworks and public policy concerning cultural production and piracy.Less
These essays highlight regional cross-fertilization in music, film, new media, and popular culture in Northeast Asia. They include analysis of gender and labor issues amid differing regulatory frameworks and public policy concerning cultural production and piracy.
Rui Zhang
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9789622098855
- eISBN:
- 9789882207523
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098855.001.0001
- Subject:
- Society and Culture, Asian Studies
Beginning first as a case study of Feng Xiaogang, this book explores Chinese film history since the early 1990s in terms of changes in the Communist Party's film policy, industry reforms, the ...
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Beginning first as a case study of Feng Xiaogang, this book explores Chinese film history since the early 1990s in terms of changes in the Communist Party's film policy, industry reforms, the official promotion of Main Melody films, and the emergence and growth of popular cinema. The image of Feng that emerges in the book is of a filmmaker working under political and economic pressures in a post-socialist state while still striving to create works with a personal socio-political agenda. In keeping with this reality, the book approaches Feng as a special kind of film auteur, whose works must be interpreted with attention to the specific social and political context of contemporary China.Less
Beginning first as a case study of Feng Xiaogang, this book explores Chinese film history since the early 1990s in terms of changes in the Communist Party's film policy, industry reforms, the official promotion of Main Melody films, and the emergence and growth of popular cinema. The image of Feng that emerges in the book is of a filmmaker working under political and economic pressures in a post-socialist state while still striving to create works with a personal socio-political agenda. In keeping with this reality, the book approaches Feng as a special kind of film auteur, whose works must be interpreted with attention to the specific social and political context of contemporary China.
