Scripture on the Silver Screen (original) (raw)
Related papers
2021
i "Rindge's primer on biblical film initiates his readers into both biblical film and biblical film scholarship. Amazingly, along the way, Rindge also finds time to introduce readers to many of biblical scholarship's tropes (e.g., the messianic secret, the son of man, the move from the Proclaimer to the proclaimed, and the historical Jesus). The last three chapters alone are worth the book's price as they provide a hermeneutic by which readers can create their own new conversations with the manifold ways that bible and film interact (Bible in Film, Film as Bible, and Bible and Film/ TV). Although a primer, Rindge's book, particularly its penultimate chapter, suggests exciting new scholarly possibilities."
Australian Religion Studies Review, 2000
Scant critical attention has been devoted to utilising popular films for religious education despite: (a) cinema being the 20th centmy art fonn (b) RE classes traditional being tagged as "the boring subjec~ "and (c) significant declines in biblical knowledge amongst the populace. Even Jess well known is the richness of biblical figures embedded in movies beyond Cecil B. DeMille style Biblical Epics, but which can be easily invoked to enthuse media-weaned students. A brief survey of(a) Redeemer Christ-Figures, (b) Saviour Christ-Figures; (c) OffBeat Christs, (d) Female Christ-Figures, (e) and other cinematic manifestations of biblical characters were canvassed Such consciousness raising will help recenter religious pedagogy and establish cinematic theology as a viable teaching modality for the post-mille1111ium era.
Teaching the Bible and Film: Pedagogical Promises, Pitfalls, and Proposals
Teaching Theology & …, 2010
This article begins by recognizing the increasing use of film in Religion, Theology, and Bible courses. It contends that in many Biblical Studies (and Religious Studies and Theology) courses, students are neither taught how to view films properly, nor how to place films into constructive dialogue with biblical texts. The article argues for a specific pedagogical approach to the use of film in which students learn how to view a film closely, in its entirety, on its own terms, and in its own voice.
Reviews in Religion & Theology, 2006
Book reviewed:Cinéma Divinité: Religion, Theology, and the Bible in Film, Eric S. Christianson, Peter Francis and William Telford (eds), SCM press 2005 (0-334-02988-0), xvii + 373 pp., pb £19.99
THE BIBLE AND CINEMA: Artistic-Literary Convergences
POLIGRAFI, v. 29, n. 115/116, 2024
From Northrop Frye's perspective, which views the Hebrew Bible as the foundational imagination behind the literary ideologies that shaped Western thought, this discussion aims to highlight some points of convergence between biblical literature and the narrative structure found in contemporary cinema, one of the most sophisticated storytelling mediums today. The theoretical framework for this exploration draws on the works of scholars such as Robert Alter, Daniel Marguerat and Yvan Bourquin, Gary Yamasaki, and David Bordwell, among others. As Adele Berlin points out, the narratives of the Hebrew Bible convey their message through both the form and content of the text. Building on this idea, the focus here is to demonstrate that beyond thematic parallels, the narrative structure of the Bible aligns methodologically with the storytelling techniques of modern cinema.
Film-Faith Dialogue: Using Popular Films for Religious Education in the Age of Hollywood
2000
This is the Age of Hollywood, and so utilising popular films in the religious education quest is only a natural strategy to employ, whether in the classroom, home or pulpit. In addition to providing entertainment and education, feature films can also create a locus theologicus, that is, a place to explore religion and theology. Thus, movies are a convenient, contemporary
Nourishing Faith through Film: Using Popular Biblical Epics as a Religious Education Resource
Journal of Christian Education, 2001
Reading the Bible is not a typical habit of contemporary youth. A survey among year 9 and 10 students (13-15 years old) in Britain revealed that 66% never read it, while just 5% read it more frequently that once a week (Francis 2000). But young people spend a great deal of time watching films. Indeed, "they will fix themselves on the images of a movie screen much more easily than they will on an instructor, no matter how good the course is" (Scully 1997, p. 7). Since popular films "exist as natural texts for our students interested in religion in contemporary society" (Ostwalt 1998, p. 4), they can become a contemporary site for religious activity (Kozlovic 2000a). Because "film is so hot and the culture of movie-going so strong... having a 'place' to talk about film through the lens of theology can be a relevant way to bring faith and life closer together" (Pacatte 2000, p. 33). The religious education (RE) programmes in schools have potential to provide such a "locus theologicus" for the Christian faith (Greeley 1988). THE AUTHENTICITY OF BIBLICAL FILMS There is certainly no dearth of filmic choices available to cater for differing methodologies, pedagogic levels, desired learning outcomes, student demographics, and participant interests in RE programmes. Comprehensive listings are given in
Interpreting and Understanding the Bible Through Film
2018
This paper is a portfolio composed of reflections on various films watched by the authors for their third Theology and Religious Education (TREDTRI) course. In these reflections, the authors connect the messages and themes found in these films with their study of the Bible and describe their obtained insights and personal impressions of these film selections.
2012
Introduction [1] There is an ongoing debate in the field of religion and film studies about whether or not film makes a unique contribution to our understanding of religion. Since most religion and film scholars are concerned about the representation of religion on the silver screen, only a few scholars who are interested in something more than how religion is portrayed in the movies carry out the debate about the uniqueness of film. So far, the debate has not yielded results that would move the question of the uniqueness of film to the center of religion and film studies. It seems to me, however, that the uniqueness of film deserves more attention than it has received. In this paper, I explore the debate about the uniqueness of film, identify several of the efforts to explain the uniqueness of film, and try to see if there is enough in common to influence the future of religion and film studies.