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Ruptures as Imagined and Theorized: Symbolic Resources for Dealing With the Unexpected. [PDF]
Integr Psychol Behav SciGillespie A, Zittoun T.
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Brill Research Perspectives in Theology, 2020
Abstract Is cinema evil, or sacramental? Can films make theological contributions? Can film-viewing be a religious practice? How do films, values and power interact? The study of film and religion engages a range of diverse questions through different approaches and methods. In this contribution, I distinguish three complementary approaches.
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Abstract Is cinema evil, or sacramental? Can films make theological contributions? Can film-viewing be a religious practice? How do films, values and power interact? The study of film and religion engages a range of diverse questions through different approaches and methods. In this contribution, I distinguish three complementary approaches.
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Religion and Film Studies through theJournal of Religion and Film
Religion, 2011The Journal of Religion & Film (JR&F) provides scholars around the world with a forum for discussing the relationship between religion and film. It provides a venue where scholars and others interested in religion and film can join in a discussion about how God is portrayed in film, the retelling of religious studies, the retelling of religious stories,
William L. Blizek +2 more
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2008
Abstract 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.
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Abstract 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.
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2013
In 1911 one of the earliest documents examining the nature and function of cinema came from the Reverend Herbert A. Jump of Connecticut, a pamphlet entitled The Religious Possibilities of the Motion Picture. His thoughtful reflections on the novel medium envisioned a fertile marriage between the moving pictures and the church, leading to revival and ...
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In 1911 one of the earliest documents examining the nature and function of cinema came from the Reverend Herbert A. Jump of Connecticut, a pamphlet entitled The Religious Possibilities of the Motion Picture. His thoughtful reflections on the novel medium envisioned a fertile marriage between the moving pictures and the church, leading to revival and ...
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Encyclopedia of Religion and Film
Choice Reviews Online, 2011Comprising 91 A–Z entries, this encyclopedia provides a broad and comprehensive introduction to the topic of religion within film. Technology has enabled films to reach much wider audiences, enabling today's viewers to access a dizzying number of films that employ diverse symbolism and communicate a vast array of viewpoints.
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Race, Religion, and Documentary Film
2018This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience
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2018
Religion intersects with film not only in film content, but also in the production and experience of film. From the earliest period, religious attitudes have shaped how religious individuals and communities have approached filmmaking as way to present temptation or salvation to the masses.
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Religion intersects with film not only in film content, but also in the production and experience of film. From the earliest period, religious attitudes have shaped how religious individuals and communities have approached filmmaking as way to present temptation or salvation to the masses.
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Introduction: Interpreting Religion and Film
2011This Introduction has four parts. First, I briefly situate this book relative to other research on religion and film; second, I provide a reading of John Woo’s Face/Off (1997) in order to exemplify both the pedagogy of self I outlined in the Preface and the theoretical assertions I delineate in more detail in Part II of the book; and third, I offer a ...
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