Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Religion in motion pictures. --- Postsecularism and motion pictures. --- Motion pictures --- Religion and motion pictures --- Religious films --- Religious aspects.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

From struggles over identity politics in the 1990s to current concerns about a clash of civilizations between Islam and Christianity, culture wars play a prominent role in the twenty-first century. Movies help to define and drive these conflicts by both reflecting and shaping cultural norms, as well as showing what violates those norms. In this pathfinding book, Daniel S. Cutrara employs queer theory, cultural studies, theological studies, and film studies to investigate how cinema represents and often denigrates religion and religious believers—an issue that has received little attention in film studies, despite the fact that faith in its varied manifestations is at the heart of so many cultural conflicts today. Wicked Cinema examines films from the United States, Europe, and the Middle East, including Crimes and Misdemeanors, The Circle, Breaking the Waves, Closed Doors, Agnes of God, Priest, The Last Temptation of Christ, and Dogma. Central to all of the films is their protagonists’ struggles with sexual transgression and traditional belief systems within Christianity, Judaism, or Islam—a struggle, Cutrara argues, that positions believers as the Other and magnifies the abuses of religion while ignoring its positive aspects. Uncovering a hazardous web of ideological assumptions informed by patriarchy, the spirit/flesh dichotomy, and heteronormativity, Cutrara demonstrates that ultimately these films emphasize the “Otherness” of the faithful through a variety of strategies commonly used to denigrate the queer, from erasing their existence, to using feminization to make them appear weak, to presenting them as dangerous fanatics.

Sex in motion pictures. --- Religion in motion pictures. --- Motion pictures --- Moral and ethical aspects. --- Religious films --- Sex in moving-pictures --- Erotic films --- Pornographic films

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Benini illuminates the radical politics embedded within Pasolini's adoption of Christian themes.

Religion in motion pictures. --- Motion pictures --- Religious films --- Pasolini, Pier Paolo, --- Criticism and interpretation. --- Religion in motion pictures --- film --- filmgeschiedenis --- filmtheorie --- filmanalyse --- filmregisseurs --- Italië --- twintigste eeuw --- Pasolini Pier Paolo --- 791.471 PASOLINI --- Religion au cinéma --- Pasolini, Pier Paolo

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Christian filmmaking, done outside of the corporate Hollywood industry and produced for Christian churches, affected a significant audience of church people. Protestant denominations and individuals believed that they could preach and teach more effectively through the mass medium of film. Although suspicion toward the film industry marked many conservatives during the early 1930s, many Christian leaders came to believe in the power of technology to convert or to morally instruct people. Thus the growth of a Christian film industry was an extension of the Protestant tradition of preaching, with the films becoming celluloid sermons. Celluloid Sermons is the first historical study of this phenomenon. Terry Lindvall and Andrew Quicke highlight key characters, studios, and influential films of the movement from 1930 to 1986—such as the Billy Graham Association, with its major WorldWide Pictures productions of films like The Hiding Place, Ken Curtis’ Gateway Films, the apocalyptic “end-time” films by Mark IV (e.g. Thief in the Night), and the instructional video-films of Dobson’s Focus on the Family--assessing the extent to which the church’s commitment to filmmaking accelerated its missions and demonstrating that its filmic endeavors had the unintended consequence of contributing to the secularization of liberal denominations.

C4 --- film --- christendom --- Media en communicatie --- Sociology of religion --- Film --- anno 1900-1999 --- Christianity in motion pictures. --- Motion pictures in Christian education. --- Motion pictures --- Motion picture industry --- Christian films --- Christian education --- Religious films --- Religious aspects --- Christianity. --- History --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Between the advent of motion pictures in the 1890s and the close of the 'silent' era at the end of the 1920s, many of the longest, most expensive and most watched films on both sides of the Atlantic drew upon biblical traditions. David J. Shepherd traces the evolution of the biblical film through the silent era, asking why the Bible attracted early film makers, how biblical films were indebted to other interpretive traditions, and how these films were received. Drawing upon rarely seen archival footage and early landmark films of directors such as Louis Feuillade, D.W. Griffith, Michael Curtis and Cecil B. DeMille, this history treats well-known biblical subjects including Joseph, Moses, David and Jesus, along with lesser-known biblical stars such as Jael, Judith and Jephthah's daughter. This book will be of great interest to students of Biblical studies, Jewish studies and film studies"--

Films bibliques --- Films muets --- Bible films --- Silent films --- Histoire et critique. --- Aspect religieux. --- History and criticism. --- Religious aspects. --- Bible --- In motion pictures. --- RELIGION / Biblical Studies / Old Testament. --- Moving pictures, Silent --- Silent motion pictures --- Motion pictures --- Biblical films --- Religious films --- Arts and Humanities --- Religion