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Winner of the 2016 Religious Communication Association Book of the Year AwardIn God Mocks, Terry Lindvall ventures into the muddy and dangerous realm of religious satire, chronicling its evolution from the biblical wit and humor of the Hebrew prophets through the Roman Era and the Middle Ages all the way up to the present. He takes the reader on a journey through the work of Chaucer and his Canterbury Tales, Cervantes, Jonathan Swift, and Mark Twain, and ending with the mediated entertainment of modern wags like Stephen Colbert. Lindvall finds that there is a method to the madness of these mockers: true satire, he argues, is at its heart moral outrage expressed in laughter. But there are remarkable differences in how these religious satirists express their outrage.The changing costumes of religious satirists fit their times. The earthy coarse language of Martin Luther and Sir Thomas More during the carnival spirit of the late medieval period was refined with the enlightened wit of Alexander Pope. The sacrilege of Monty Python does not translate well to the ironic voices of Soren Kierkegaard. The religious satirist does not even need to be part of the community of faith. All he needs is an eye and ear for the folly and chicanery of religious poseurs. To follow the paths of the satirist, writes Lindvall, is to encounter the odd and peculiar treasures who are God’s mouthpieces. In God Mocks, he offers an engaging look at their religious use of humor toward moral ends.

Satire --- Religious satire --- Arts and religion. --- Arts --- Religion and the arts --- Religion --- Wit and humor --- History and criticism. --- Religious aspects --- Arts and religion --- Religion, Primitive --- Atheism --- Irreligion --- Religions --- Theology --- Comic literature --- Literature --- Invective --- 244*1 --- 244*1 Religieuze humor --- Religieuze humor --- History and criticism --- Satiren --- Satiriker --- Pseudoreligion

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Silent prayers (1902-1927) -- Censored prayers (1927-1939) -- Foxhole prayers (1939-1945) -- Postwar secular prayers (1946-1963) -- Cynical prayers (1964-1976) -- Revival of prayer (1976-1988) -- Postmodern prayer (1989-2000) -- Millennial prayers (2000-2017).

Motion pictures --- Prayer in motion pictures. --- Religious aspects. --- Aimee Semple McPherson. --- American cinema. --- American dream. --- American silent film. --- Cecil B. DeMille. --- Christianity. --- Cold War. --- D. W. Griffith. --- Death of God movement. --- Great Depression. --- Mary Pickford. --- Roman Catholic Church. --- Ronald Reagan. --- Vatican II. --- Victorian films. --- Vietnam War. --- Wall Street crash. --- World War II. --- apocalypse. --- baby boom. --- blasphemy. --- church history. --- civil religion. --- civil rights movement. --- comic prayer. --- dying prayers. --- exemplary prayer. --- fairy tale. --- fantasy genre. --- film noir. --- horror films. --- how to pray. --- intercessory prayer. --- ironic prayer. --- liberation theology. --- piety in films. --- popular culture. --- postmodernism. --- race cinema. --- race. --- religion and film. --- religious films. --- religious photoplays. --- religious pretenders. --- revelatory prayer. --- science fiction films. --- silent films. --- sports. --- televangelists. --- traditional prayer. --- vindictive prayer.

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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.

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This engaging study surveys the religious element in the broadest spectrum of film comedy. A representative chapter finds religious redemption and the blessed hero in early Chaplin films and in Home Alone (1990). Heroes of adventure comedies and the picaresque personify the joy of life?s challenges and tribulations. In romantic and screwball comedies traditional plots reassert the power of love and community and the divinity in resisting unbridled temptation. In chapter 6, the authors write that musicals are the ?sub-genre of joy and bliss? implicit in the utopian vision of romantic unions, countering the individual?s dread isolation?a theme developed more somberly in the chapter on family comedies. The authors also propose two new subgenres, "film blanc comedy, " driven by angels, and "clergy comedy, " propelled by angels' human agents. There are brisk discussions of black comedy as reductio ad absurdum, the multilevel or ensemble comedy, mockumentary and the broader genres of satire, and parody and the Dionysian/transgressive. The authors move easily between the religious implications of popular films and the comic element in the Bible stories. The result is manna for new thought.

Motion pictures --- Comedy films --- Religion in motion pictures. --- Cinéma --- Films comiques --- Religion au cinéma --- Religious aspects. --- History and criticism. --- Aspect religieux --- Histoire et critique