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Dissertation by Steven Vredenburgh

ProQuest, 2023

This dissertation argues that film watching can be a particularly efficacious means of grace beca... more This dissertation argues that film watching can be a particularly efficacious means of grace because there are significant similarities between the way film, as a medium, shapes viewers through its affective power and the way Christ transforms people through his offices of prophet, priest, and king. In order to substantiate this claim, I engage with the theology of John Wesley and the film theory of Gilles Deleuze. I chose Wesley and Deleuze because the role of human affections is central their account of people’s change over time.
In Wesley, a person is awakened to their need for repentance through Christ’s work in the prophetic office. Christ’s work in the priestly office then enables a person to experience the presence of God. Finally, Christ’s kingly work hones a person’s affections so that they reflect the love of God to the world.
In the Deleuzian/phenomenological film theory used in this dissertation, the affective flow of a film begins when the filmmakers choreograph into a film’s performance a particular attitude toward a specific situation in the world. That affective flow is then transmitted to the film viewer as they engage with a film’s performance. Finally, the affective flow of a film can transform the film viewer’s further engagement with the world.
After comparing Wesley’s theology with Deleuze’s film theory I identify three categories of film that can be conducive to work of Christ in unique ways. Prophetic films provide a divine perspective of unique situations in the world. Priestly films are choreographed to produce experiences of transcendence. And kingly films help transform our affections to reflect the love of God toward the other.
When we bring together film and Wesley’s theology of the offices of Christ, we can see how different films can mediate the grace of God in unique ways. As a means of grace, film watching opens us up to the whole of Christ’s work, which seeks to restore the image of God in all people.

Papers by Steven Vredenburgh

Religions, Jun 8, 2016

Pawel Pawlikowski's Ida (2014) tells the story of a nun who must learn to resituate her faith in ... more Pawel Pawlikowski's Ida (2014) tells the story of a nun who must learn to resituate her faith in light of new experiences and information. Through Ida's encounters, Pawlikowski suggests that God may be encountered in unexpected places. This theological meditation is done primarily through the elements of the film's color, framing, costuming, music, art direction, and character interactions, all of which work together to demonstrate Pawlikowski's thesis. By exploring this topic on film, Pawlikowski not only expresses his thoughts on where to seek God, but invites others to join him in his search.

Christian Scholar's Review, 2020

Many Christian films released in the last two decades often pitch themselves as a means of evange... more Many Christian films released in the last two decades often pitch themselves as a means of evangelizing unbelievers and reassuring the faith of believers. This article uses the film God’s Not Dead as an example of the recent trend in Christian films and argues, using historical parallels, that these films undermine their stated purposes and are more likely to lead to unbelief than deepened faith. Part of this disconnect is because these films’ primary response to doubt is to build certainty based in empiricism rather than faith in God. Finally, this paper argues that films like Marin Scorsese’s Silence are a better model for encouraging a deep faith through film.

Religions, Jun 1, 2016

Pawel Pawlikowski’s Ida (2014) tells the story of a nun who must learn to resituate her faith in ... more Pawel Pawlikowski’s Ida (2014) tells the story of a nun who must learn to resituate her faith in light of new experiences and information. Through Ida’s encounters, Pawlikowski suggests that God may be encountered in unexpected places. This theological meditation is done primarily through the elements of the film’s color, framing, costuming, music, art direction, and character interactions, all of which work together to demonstrate Pawlikowski’s thesis. By exploring this topic on film, Pawlikowski not only expresses his thoughts on where to seek God, but invites others to join him in his search.

Video Essays by Steven Vredenburgh

Brehm Film, 2014

This is a video essay exploring the filmmaking techniques used to indicate the transcendent in Id... more This is a video essay exploring the filmmaking techniques used to indicate the transcendent in Ida (2014).

A video essay exploring how the visuals in Darren Aronofsky's The Fountain (2006) communicate the... more A video essay exploring how the visuals in Darren Aronofsky's The Fountain (2006) communicate the themes of the film.

How do the liturgies of the factions on the Fury Road shape those who practice them?

Book Reviews by Steven Vredenburgh

Journal of Religion and Film, 2016

Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Boulder, CO: Roman & Lit... more Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Boulder, CO: Roman & Littlefield, 2012), 348pgs.In his book Screen Jesus: Portrayals of Christ in Television and Film, Peter Malone catalogues the various depictions of Jesus Christ since the invention of film more than one hundred years ago. The history covered in this book stretches from Christ Walking on the Water (1899), produced only four years after the Lumiere brothers showed their first movie, to The Passion (2008). While there have been numerous depictions of Jesus on screen since 2008, publishing deadlines limit what may be included in a printed volume. Malone briefly mentions some of these post2008 Jesus films in the latter chapters of Screen Jesus, however, these are given a few sentences at most.To begin his consideration of Jesus on screen, Malone first takes the time to define exactly what the book will be addressing. Malone differentiates between a Christ-figure and a Jesus-figure by stating, &q...

Choice Reviews Online, 2014

This is a book review of Bible and Cinema: An Introduction by Adele Reinhartz.

Film Reviews by Steven Vredenburgh

ProQuest, 2023

This dissertation argues that film watching can be a particularly efficacious means of grace beca... more This dissertation argues that film watching can be a particularly efficacious means of grace because there are significant similarities between the way film, as a medium, shapes viewers through its affective power and the way Christ transforms people through his offices of prophet, priest, and king. In order to substantiate this claim, I engage with the theology of John Wesley and the film theory of Gilles Deleuze. I chose Wesley and Deleuze because the role of human affections is central their account of people’s change over time.
In Wesley, a person is awakened to their need for repentance through Christ’s work in the prophetic office. Christ’s work in the priestly office then enables a person to experience the presence of God. Finally, Christ’s kingly work hones a person’s affections so that they reflect the love of God to the world.
In the Deleuzian/phenomenological film theory used in this dissertation, the affective flow of a film begins when the filmmakers choreograph into a film’s performance a particular attitude toward a specific situation in the world. That affective flow is then transmitted to the film viewer as they engage with a film’s performance. Finally, the affective flow of a film can transform the film viewer’s further engagement with the world.
After comparing Wesley’s theology with Deleuze’s film theory I identify three categories of film that can be conducive to work of Christ in unique ways. Prophetic films provide a divine perspective of unique situations in the world. Priestly films are choreographed to produce experiences of transcendence. And kingly films help transform our affections to reflect the love of God toward the other.
When we bring together film and Wesley’s theology of the offices of Christ, we can see how different films can mediate the grace of God in unique ways. As a means of grace, film watching opens us up to the whole of Christ’s work, which seeks to restore the image of God in all people.

Religions, Jun 8, 2016

Pawel Pawlikowski's Ida (2014) tells the story of a nun who must learn to resituate her faith in ... more Pawel Pawlikowski's Ida (2014) tells the story of a nun who must learn to resituate her faith in light of new experiences and information. Through Ida's encounters, Pawlikowski suggests that God may be encountered in unexpected places. This theological meditation is done primarily through the elements of the film's color, framing, costuming, music, art direction, and character interactions, all of which work together to demonstrate Pawlikowski's thesis. By exploring this topic on film, Pawlikowski not only expresses his thoughts on where to seek God, but invites others to join him in his search.

Christian Scholar's Review, 2020

Many Christian films released in the last two decades often pitch themselves as a means of evange... more Many Christian films released in the last two decades often pitch themselves as a means of evangelizing unbelievers and reassuring the faith of believers. This article uses the film God’s Not Dead as an example of the recent trend in Christian films and argues, using historical parallels, that these films undermine their stated purposes and are more likely to lead to unbelief than deepened faith. Part of this disconnect is because these films’ primary response to doubt is to build certainty based in empiricism rather than faith in God. Finally, this paper argues that films like Marin Scorsese’s Silence are a better model for encouraging a deep faith through film.

Religions, Jun 1, 2016

Pawel Pawlikowski’s Ida (2014) tells the story of a nun who must learn to resituate her faith in ... more Pawel Pawlikowski’s Ida (2014) tells the story of a nun who must learn to resituate her faith in light of new experiences and information. Through Ida’s encounters, Pawlikowski suggests that God may be encountered in unexpected places. This theological meditation is done primarily through the elements of the film’s color, framing, costuming, music, art direction, and character interactions, all of which work together to demonstrate Pawlikowski’s thesis. By exploring this topic on film, Pawlikowski not only expresses his thoughts on where to seek God, but invites others to join him in his search.

Brehm Film, 2014

This is a video essay exploring the filmmaking techniques used to indicate the transcendent in Id... more This is a video essay exploring the filmmaking techniques used to indicate the transcendent in Ida (2014).

A video essay exploring how the visuals in Darren Aronofsky's The Fountain (2006) communicate the... more A video essay exploring how the visuals in Darren Aronofsky's The Fountain (2006) communicate the themes of the film.

How do the liturgies of the factions on the Fury Road shape those who practice them?

Journal of Religion and Film, 2016

Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Boulder, CO: Roman & Lit... more Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Boulder, CO: Roman & Littlefield, 2012), 348pgs.In his book Screen Jesus: Portrayals of Christ in Television and Film, Peter Malone catalogues the various depictions of Jesus Christ since the invention of film more than one hundred years ago. The history covered in this book stretches from Christ Walking on the Water (1899), produced only four years after the Lumiere brothers showed their first movie, to The Passion (2008). While there have been numerous depictions of Jesus on screen since 2008, publishing deadlines limit what may be included in a printed volume. Malone briefly mentions some of these post2008 Jesus films in the latter chapters of Screen Jesus, however, these are given a few sentences at most.To begin his consideration of Jesus on screen, Malone first takes the time to define exactly what the book will be addressing. Malone differentiates between a Christ-figure and a Jesus-figure by stating, &q...

Choice Reviews Online, 2014

This is a book review of Bible and Cinema: An Introduction by Adele Reinhartz.