Salvation from Cinema

illustrating how to transcend the traumatizing exigencies of life.2 And, of course, religious studies specialists discuss salvation from cinema in ways that exceed the particularity of Christianity. Some, in fact, celebrate film itself ...

Salvation from Cinema

Salvation from Cinema offers something new to the burgeoning field of "religion and film": the religious significance of film technique. Discussing the history of both cinematic devices and film theory, Crystal Downing argues that attention to the material medium echoes Christian doctrine about the materiality of Christ’s body as the medium of salvation. Downing cites Jewish, Muslim, Buddhist, and Hindu perspectives on film in order to compare and clarify the significance of medium within the frameworks of multiple traditions. This book will be useful to professors and students interested in the relationship between religion and film.

The Shi i World

When one hears the term 'religious cinema', he stated, the audience undoubtedly expects films with divine and ... The 32nd FIFF in 2014 still included Salvation Cinema – a category which is not simply a replacement of ma'nagara cinema.

The Shi i World

I.B.Tauris in association with the Institute of Ismaili Studies The world's 200 million Shi'i Muslims express their faith in a multiplicity of ways, united by reverence for the ahl al-bayt, the family of the Prophet. In embracing a pluralistic ethic, fourteen centuries of Shi'i Islam have given rise to diverse traditions and practices across varied geographic and cultural landscapes. The Shi'i World is a comprehensive work authored by leading scholars from assorted disciplines, to provide a better understanding of how Shi'i communities view themselves and articulate their teachings. The topics range from Shi'i Islam's historical and conceptual foundations, formative figures and intellectual, legal and moral traditions, to its devotional practices, art and architecture, literature, music and cinema, as well as expressions and experiences of modernity. The book thus provides a panoramic perspective of the richly textured narratives that have shaped the social and moral universe of Shi'i Muslims around the globe.This fourth volume in the Muslim Heritage Series will appeal to specialists and general readers alike, as a timely resource on the prevailing complexities not only of the 'Muslim world', but also of the dynamic Shi'i diasporas of Europe and North America.

Close Up Cinema And Modernism

4 April 1929 Jean Lenauer THE SOUND FILM: SALVATION OF CINEMA December 1928 I have erred, and I wish to confess. Not to a priest, for it's no priest's business. What then? I imagine I have erred like many others, and my confession may ...

Close Up  Cinema And Modernism

Between 1927 and 1933, the journal "Close Up" championed a European avant-garde in film-making. This volume republishes articles from the journal, with an introduction and a commentary on the lives of, and complex relationships between, its writers and editors.

Dreams Doubt and Dread

For the influence of Bazin on film theory see Crystal Downing, Salvation from Cinema, 99–105. 153 Gregory Watkins notes that “the vast majority of work on film and religion” makes cinema “the object of [a] particular theoretical or ...

Dreams  Doubt  and Dread

Films are modern spiritual phenomena. They function as such in at least three profound ways: world projection, thought experiments, and catharsis (i.e., as dreams, doubt, and dread). Understanding film in this way allows for a theological account of the experience that speaks to the religious possibilities of film that far extend the portrayal of religious themes or content. Dreams, Doubt, and Dread: The Spiritual in Film aims to address films as spiritual experiences. This collection of short essays and dialogues examines films phenomenologically--through the experience of the viewer as an agent having been acted upon in the functioning of the film itself. Authors were invited to take one of the main themes and creatively consider how film, in their experiences, has provided opportunities for new modes of thinking. Contributors will then engaged one another in a dialogue about the similarities and differences in their descriptions of film as spiritual phenomena. The intended aim of this text is to shift contemporary theological film engagement away from a simple mode of analysis in which theological concepts are simply read into the film itself and begin to let films speak for themselves as profoundly spiritual experiences.

Seeing Is Believing

30. Crystal Downing, Salvation from Cinema: The Medium Is the Message (London: Routledge, 2015), ebook, 5. 31. Robert K. Johnston, ed., Reframing Theology and Film: New Focus for an Emerging Discipline (Grand Rapids, MI: Baker Academic, ...

Seeing Is Believing

In this study in IVP Academic's STA series, theologian Richard Goodwin considers how the images that constitute film might be a conduit of God's revelation. By considering works by Stanley Kubrik, Martin Scorsese, Terrence Malick, and more, Goodwin argues that by inviting emotional responses, film images can be a medium of divine revelation.

Encyclopedia of Early Cinema

Perhaps the most pro~film Christian organiza tion was the Salvation Army. As early as 1897, the Australian branch of this organization was making films, and Soldiers of the Cross (1900) combined films and lantern slides in a show ...

Encyclopedia of Early Cinema

This encyclopedia presents a wealth of information on early cinema history, with coverage of the techniques and equipment of film production, profiles of the pioneering directors and producers, analysis of individual films and the rapid growth of distinct film genres, and the emergence of something the world had never seen before - the movie star. The work also focuses on how the nature of film exhibition changed as the industry grew, and how the public's reception to films also changed. The pre-cinema period is closely examined to show those mass-cultural forms and practices - such as music hall and vaudeville - from within which cinema was to emerge. A perfect companion for any student of early cinema and film studies.

Cinema of Exploration

He was tasked not only with filming but also with disseminating messages of national salvation by means of singing, performing theatrical works in streets, putting up propagandist posters in public spaces, and screening films with a ...

Cinema of Exploration

Drawing together 18 contributions from leading international scholars, this book conceptualizes the history and theory of cinema’s century-long relationship to modes of exploration in its many forms, from colonialist expeditions to decolonial radical cinemas to the perceptual voyage of the senses made possible by the cinematic apparatus. This is the first anthology dedicated to analysing cinema’s relationship to exploration from a global, decolonial, and ecological perspective. Featuring leading scholars working with pathbreaking interdisciplinary methodologies (drawing on insights from science and technology studies, postcolonial theory, indigenous ways of knowing, and film theory and history), it theorizes not only cinema’s implication in imperial conquest but also its cutting-edge role in empirical expansion and experiments in sensual and critical perception. The collected essays consider filmmaking in cross-cultural contexts and films made in or about peoples in South America, Asia, Africa, Indigenous North America, as well as polar, outer space, and underwater exploration, with famous figures such as Jacques Yves Cousteau alongside amateur and scientific filmmakers. The essays in this collection are ideal for a broad range of scholars, graduate students, and advanced undergraduate students in cinema and media studies, cultural studies, and cognate fields.

Cultivating Extreme Art Cinema

Salò, Or the 120 Days of Sodom, film, directed by Pier Paulo Pasolini. Italy: Produzioni Eurpee Associati, 1975. Salvation Films (n.d.), Salvation Films Homepage, <http://www.salvationfilms.com/> (last accessed 12 July 2017).

Cultivating Extreme Art Cinema

Using paratextual theory to address the accusations of gimmickry often directed towards extreme art films, Cultivating Extreme Art Cinema focuses upon the DVD and Blu-ray object, analysing how sleeve designs, blurbs, and special features shape the identity of the film.

Cinema s Illusions Opera s Allure

See Claudia Gorbman, “Music as Salvation: Notes on Fellini and Rota,” Film Quarterly 28, no. 2 (Winter 1974–5): 17–25. Peter Bondanella also refers to the music as a metaphor of salvation and calls the three films the “salvation ...

Cinema s Illusions  Opera s Allure

The invention of cinema was ingenious, so much so that virtually no-one quite knew what to do with it. In its earliest stages, especially with the advent of the feature film, it needed models, and opera proved to be especially useful in that regard. The allure of opera to cinema early in the twentieth century held up through the silent era, into sound films, through the golden age of movies, and beyond. This book explores the numerous ways – some predictable, some unexpected, and some bizarre – in which this has happened. The influence of Richard Wagner on filmmakers has been especially striking, and some have even devised visual images that seem to emerge from a kind of non-verbal Wagnerian essence – a formative, musical urge that can underlie a cinematic idea, defying explanation and remaining purely sensory. Directors like Griffith, DeMille, Eisenstein, Chaplin, Bunuel or Hitchcock have intuited this possibility. Schroeder provides a fascinating, well-researched and always entertaining account of the influence of one medium on another, and shows that opera can often be found lurking in the background (or booming in the foreground) of an impressive range of films.

Sanctuary Cinema

See also The History of the Salvation Army, V, op. cit. 293–94. 11. See Dean Rapp, “The British Salvation Army, the Early Film Industry and Urban Working-Class Adolescents, 1897–1918,” Twentieth Century British History 7:2 (1996), ...

Sanctuary Cinema

Sanctuary Cinema provides the first history of the origins of the Christian film industry. Focusing on the early days of film during the silent era, it traces the ways in which the Church came to adopt film making as a way of conveying the Christian message to adherents. Surprisingly, rather than separating themselves from Hollywood or the American entertainment culture, early Christian film makers embraced Hollywood cinematic techniques and often populated their films with attractive actors and actresses. But they communicated their sectarian message effectively to believers, and helped to shape subsequent understandings of the Gospel message, which had historically been almost exclusively verbal, not communicated through visual media. -- PUBLISHER'S DESCRIPTION.

The Cinema of Australia and New Zealand

In the five months following the arrival of Edison's Kinetoscope 35mm film - viewers in Sydney , in November 1884 , 25,000 ... Early film production came from an unlikely source , the Limelight Department of the Salvation Army .

The Cinema of Australia and New Zealand

From The Story of the Kelly Gang in 1906 to the Lord of the Rings trilogy, Australia and New Zealand have made a unique impact on international cinema. This book celebrates the commercially successful narrative feature films produced by these cultures as well as key documentaries, shorts, and independent films. It also invokes issues involving national identity, race, history, and the ability of two small film cultures to survive the economic and cultural threat of Hollywood. Chapters on well known films and directors, such as The Year of Living Dangerously (Peter Weir, 1982), The Piano (Jane Campion, 1993), Fellowship of the Ring (Peter Jackson, 2001), and Rabbit Proof Fence (Philip Noyce, 2002), are included with less popular but equally important films and filmmakers, such as Jedda (Charles Chauvel, 1955), They're a Weird Mob (Michael Powell, 1966), Vigil (Vincent Ward, 1984), and The Goddess of 1967 (Clara Law, 2000).

Indigenous Plots in Twenty First Century Latin American Cinema

On the other hand, the foreigner also represents salvation: the Maríns save the teenagers, while the presence of Salvador facilitates Madeinusa's escape to Lima. Both Aves sin Nido and Madeinusa, as well as, one can argue, ...

Indigenous Plots in Twenty First Century Latin American Cinema


The A to Z of Australian and New Zealand Cinema

Over the next six years, it was responsible for 80 percent of all film shot in Australia, much of it nonreligious film made under ... May: In Melbourne, the Salvation Army premiered its first films, entitled Our Social Triumphs.

The A to Z of Australian and New Zealand Cinema

This book is an introduction and guide to the film of Australia and New Zealand. With entries on many exceptional producers, directors, writers and actors, as well as the films indicated above and many others, this reference also presents the early pioneers, the film companies and government bodies, and much more in its hundreds of cross-referenced dictionary entries.

Skepticism Films

Nuovo Cinema Paradiso is a Deleuzian film insofar as—and only insofar as—it is a film calling for salvation in a double sense: Salvation from our own dreams of cinema, which promise us more than the real world can give; and salvation ...

Skepticism Films

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

Cinema Censorship and Sexuality 1909 1925 Routledge Revivals

propaganda, cure and salvation are repeatedly conflated. In one especially illuminating exchange, George pleads with the doctor: 'No, no, for pity's sake! You can cure me before that. Science can do everything!

Cinema  Censorship and Sexuality 1909 1925  Routledge Revivals

First published in 1988. This book shows how censorship as a set of institutions, practices and discourses was involved in the struggle over the nature of cinema in the early twentieth century. It also reveals the part played in this struggle by other institutions, practices and discourses — for example ‘new’ knowledge about sexuality and organisations devoted to the promotion of public morality. Instead of censorship simply being an act of prohibition by a special institution, this work reveals the issues at work were far more complex and contradictory — opening up critical scrutiny and challenging assumptions. This title will be of interest to students of media and film studies.

Close Up 1927 1933

FILM. : SALVATION. OF. CIN. E. M. A. December 1928 I have erred, and I wish to confess. Not to a priest, for it's no priest's business. What then? ... insist on the fact that one can love the cinema as a woman, and even more deeply.

Close Up 1927 1933

Close Up was the first English-language journal of film theory. Published between 1927 and 1933, it billed itself as "the only magazine devoted to film as an art," promising readers "theory and analysis: no gossip." The journal was edited by the writer and filmmaker Kenneth Macpherson, the novelist Winifred Bryher, and the poet H. D., and it attracted contributions from such major figures as Dorothy Richardson, Sergei Eisenstein, and Man Ray. This anthology presents some of the liveliest and most important articles from the publication's short but influential history. The writing in Close Up was theoretically astute, politically incisive, open to emerging ideas from psychoanalysis, passionately committed to "pure cinema," and deeply critical of Hollywood and its European imitators. The articles collected here cover such subjects as women and film, "The Negro in Cinema," Russian and working-class cinema, and developments in film technology, including the much debated addition of sound. The contributors are a cosmopolitan cast, reflecting the journal's commitment to internationalism; Close Up was published from Switzerland, printed in England and France, and distributed in Paris, Berlin, London, New York, and Los Angeles. The editors of this volume present a substantial introduction and commentaries on the articles that set Close Up in historical and intellectual context. This is crucial reading for anyone interested in the origins of film theory and the relationship between cinema and modernism.

Atomic Bomb Cinema The Apocalyptic Imagination on Film

In addition, we will briefly examine the very important films Godzilla, King of the Monsters (Inoshiro Honda and Terry Morse, 1956), ... He says Dr. Van Horne “supplied us with information that may well mean the salvation of our world.

Atomic Bomb Cinema  The Apocalyptic Imagination on Film

Unfathomably merciless and powerful, the atomic bomb has left its indelible mark on film. In Atomic Bomb Cinema, Jerome F. Shapiro unearths the unspoken legacy of the bombing of Nagasaki and Hiroshima and its complex aftermath in American and Japanese cinema. According to Shapiro, a "Bomb film" is never simply an exercise in ideology or paranoia. He examines hundreds of films like Godzilla, Dr. Strangelove, and The Terminator as a body of work held together by ancient narrative and symbolic traditions that extol survival under devastating conditions. Drawing extensively on both English-language and Japanese-language sources, Shapiro argues that such films not only grapple with our nuclear anxieties, but also offer signs of hope that humanity is capable of repairing a damaged and divided world. www.atomicbombcinema.com

The New Face of Political Cinema

consequence of this situation is that rather than being a 'social' cinema that conservatively reflects an ... Because the characters themselves are the agents of whatever salvation can be found and the creators of whatever values can be ...

The New Face of Political Cinema

Since 1995 there has been a widespread return of commitment to French cinema taking it to a level unmatched since the heady days following 1968. But this new wave of political film is very different and urgently calls out for an analysis that will account for its development, its formal characteristics and its originality. This is what this book provides. It engages with leading directors such as Cantet, Tavernier, Dumont, Kassovitz, Zonca and Guédiguian, takes in a range of less well known but important figures and strays across the Belgian border to engage with the seminal work of the Dardenne brothers. It shows how the works discussed are helping to reinvent political cinema by finding stylistic and narrative strategies adequate to the contemporary context.

The Cinema of Federico Fellini

As in the other films from Fellini's trilogy of grace or salvation , the ending coda of Le notti di Cabiria juxtaposes an episodic and picaresque narrative with a finale that closes the circular movement of the film and suggests a ...

The Cinema of Federico Fellini

This major artistic biography of Federico Fellini shows how his exuberant imagination has been shaped by popular culture, literature, and his encounter with the ideas of C. G. Jung, especially Jungian dream interpretation. Covering Fellini's entire career, the book links his mature accomplishments to his first employment as a cartoonist, gagman, and sketch-artist during the Fascist era and his development as a leading neo-realist scriptwriter. Peter Bondanella thoroughly explores key Fellinian themes to reveal the director's growth not only as an artistic master of the visual image but also as an astute interpreter of culture and politics. Throughout the book Bondanella draws on a new archive of several dozen manuscripts, obtained from Fellini and his scriptwriters. These previously unexamined documents allow a comprehensive treatment of Fellini's important part in the rise of Italian neorealism and the even more decisive role that he played in the evolution of Italian cinema beyond neorealism in the 1950s. By probing Fellini's recurring themes, Bondanella reinterprets the visual qualities of the director's body of work--and also discloses in the films a critical and intellectual vitality often hidden by Fellini's reputation as a storyteller and entertainer. After two chapters on Fellini's precinematic career, the book covers all the films to date in analytical chapters arranged by topic: Fellini and his growth beyond his neorealist apprenticeship, dreams and metacinema, literature and cinema, Fellini and politics, Fellini and the image of women, and La voce della luna and the cinema of poetry.

Cinema and Sentiment

Salvation is not , then , to be understood solely in moral terms . It is an existential matter . Second , we should note that Red is the narrator throughout the film . Though the film is essentially about Red and Andy , it is Red's ...

Cinema and Sentiment

Watching any film happens within a cultural context. Cinema and Sentiment critically examines the practice of watching movies in western culture. Clive Marsh demonstrates aspects of the religious function of film-watching by comparing watching movies to worshiping. Through a variety of case studies on the habit of going to the theater, Marsh's study shows how watching films as a regular practice can contribute to the shaping of human living. Engaging with social and religious behavior patters in western culture, Cinema and Sentiment suggests a need to recover a positive sense of sentiment, both in theology and film. Two concluding chapters locate the text in recent studies of theology and film, offering church leaders, students of theology and film studies, and all those with an interest in contemporary culture practical consequences of the work's findings.