Religion and Film Research Papers (original) (raw)

2025, Dokuz Eylül Üniversitesi İlahiyat Fakültesi Dergisi

Bu çalışma, Hristiyanlık bağlamında sinemada Tanrı’nın görselleştirilmesi ilkesini ele alarak, modern sinema yapıtlarının kutsal figürleri yeniden yorumlamasını konu edinmektedir. Çalışma, Tanrı’nın sinemada betimlenmesinin geleneksel Hristiyan inançlarından etkilenme biçimini ve bu tasvirlerin dinî algılara meydan okuma şeklini tartışmayı amaçlamaktadır. Bu bağlamda çalışma, Lucifer (2016-2021) dizisi ile Dogma (1999), The Shack (2017), Bruce Almighty (2003), Evan Almighty (2007) ve The First Temptation of Christ (2019) filmlerinin örneklem olarak seçilmesiyle sınırlandırılmıştır. Bu doğrultuda çalışmada ele alınan yapımların görsel ve tematik analizleri yapılmış, filmlerin kurgusal düzleminde Tanrı’nın fiziksel ve karakteristik özellikleri teolojik bağlamda incelenmiştir. Örneğin, Lucifer dizisinde Tanrı, karmaşık aile dinamikleri içinde bir baba figürü olarak sunulurken, Dogma’da Tanrı’nın mizahi ve oyunbaz bir yaratıcı olarak tasvir edilmesi söz konusudur. Bruce Almighty ve Evan Almighty filmleri, Tanrı’nın insanlar aracılığıyla eyleme geçtiği daha insancıl bir portre çizerken, The Shack ve The First Temptation of Christ’te, cinsiyet ve otorite algılarına meydan okunarak Tanrı’nın daha marjinal bir perspektifle betimlendiğine şahit olunmaktadır.

2025, Journal of Religion & Film

This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post-Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first to provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience. By elevating corruption from a well-known and accepted mundane problem to a religio-philosophical one, Leviathan creates a sense of shared culpability that underpins contemporary Russian society.

2025, Studia Religiosa Rossica: Russian Journal of Religion

В статье рассматривается проблема научных основа- ний развития антирелигиозной пропаганды в СССР в 1920–1930-е гг. в контексте становления отечественного религиоведения. Анализируе- мые авторами материалы журнала «Антирелигиозник» свидетельствуют о том, что в период «культурной революции» исследовательская работа по изучению религии сопровождалась сбором и созданием визуальных доку- ментов об этноконфессиональном составе СССР. Отечественными уче- ными-религиоведами и этнографами были созданы религиозно-бытовые карты, корпус уникальных фото- и кинодокументов о положении религи- озных групп, получили развитие антирелигиозное плакатное искусство, театральная, выставочная и музейная работа, связанная с вопросами ате- изма. Материалы религиоведческого характера, собранные и созданные учеными, и идеи, разработанные антирелигиозниками-пропагандистами в 1920–1930-х гг., позволили, в том числе, сформулировать концепцию создания антирелигиозного кино как специфического жанра советских пропагандистских фильмов. Особое внимание в статье уделяется идеям развития антирелигиозного кинематографа, которые были сформулиро- ваны в 1930-х гг. пропагандистом-антирелигиозником В.В. Степановым (1898–1938). Впервые в отечественной науке обозначаются предложен- ные им основные принципы визуализации религиозных групп, представ- ленные в работе «Кино и антирелигиозная пропаганда» (1928).

2025

This paper considers whether AI has Buddha Nature and how AI interrogates Buddhist ideas about personhood, ethics and responsibility.

2025, İlk Hristiyan Kadın Şairi Proba’nın Centosunda Eski ve Yeni Ahit Anlatısı

Öz Bu çalışma, Faltonia Betitia Proba ismini taşıyan Romalı aristokrat bir kadının, IV. yüzyılın ortalarında kaleme aldığı Cento Vergilianus de laudibus Christi adlı esere odaklanmaktadır. Proba, eserini IV. yüzyılda son derece popüler bir edebî tür olan cento şeklinde kaleme almıştır. Cento, başka bir yazarın eserindeki dize ve pasajların kopyala-yapıştır yöntemiyle alınarak ve alınan bu dize ve pasajlara yeni anlamlar yükleyerek oluşturulan şiire verilen isimdir. Proba da Latin edebiyatının en önemli isimlerinden olan Vergilius'un; Aeneis, Georgica (Çiftçilik Sanatı) ve Bucolica (Çoban Türküleri: Şiirler) adlı eserlerinde kullandığı dize ve pasajları alarak, Eski ve Yeni Ahit'i yeniden yazmıştır. Proba'nın eserini, bir pagan olan İmparator Iulianus'un (361-363) döneminde veya onun hükümdarlığının hemen sonrasında yazdığı kesin gibidir. Iulianus'un paganlığı canlandırmak adına uyguladığı politikalar ve aristokrat sınıfının üyeleri arasında azımsanmayacak derecede pagan taraftarı olması, onun bu eseri kaleme almasında etkin bir rol oynamıştır. Proba eserinde Hristiyanlığın, Roma'nın geleneksel sosyal ve dinî yaşamına çok da uzak olmadığını gösterme gayreti içerisindedir. Bu bağlamda, Vergilius'un eserleri ile Eski ve Yeni Ahit arasında tipolojik bağlantılar kurmuştur. Üstelik gayretinden sonuç elde edebilmek adına, Eski ve Yeni Ahit'in bazı bölümlerinde değişiklik yapmaktan da çekinmemiştir. Cento Vergilianus de laudibus Christi, Antik Çağ'da bir kadın tarafından kaleme alınan az sayıdaki eserden birisi olmasının yanı sıra Hristiyanlığın da erken dönem metinlerindendir. Bu durum onun eserini eşsiz kılmaktadır.

2025, Kristina Jaspers, Nils Warnecke; in collaboration with Nicoletta Pacini and Tamara Sillo (Ed.): Martin Scorsese

With his visually powerful films, director Martin Scorsese provides guidance in the moral vacuum of our time. His cinematic search for religion and spirituality is also intensely felt in his most violent works.

2025, Nils Warnecke, Kristina Jaspers (Hg.): „Ingmar Bergman. Von Lüge und Wahrheit“

Ingmar Bergmans DET SJUNDE INSEGLET (1957), ursprünglich unter dem Titel "Riddaren och döden" konzipiert, entstand nach dem Erfolg von Sommarnattens leende. Im Zentrum steht der existenzielle Konflikt zwischen dem Kreuzritter Antonius Block (Max von Sydow in seiner ersten Filmrolle bei Bergman) und dem Tod (Bengt Ekerot). Es ist Max von Sydows erste Rolle in einem Spielfilm Ingmar Bergmans, nachdem er bereits in fünf seiner Bühnen- und Radioinszenierungen mitgewirkt hat und bildet zugleich den fulminanten Auftakt seiner Filmkarriere. Die ikonische Totentanz-Szene am Ende des Films wurde an den Uferfelsen des Naturschutzgebietes Hovs Hallar in Südschweden improvisiert. Der Film gilt als Schlüsselwerk des europäischen Autorenkinos.

2025, DOC online - Revista Digital de Cinema Documentário

Resumo: Este texto se ocupa do conjunto de documentários sobre a representação da temática da religiosidade, em diferentes religiões e abordagens, dirigidos por Geraldo Sarno, nas décadas de 1970 e 1980. A realização desses documentários insere-se na passagem sutil e gradual para um novo ciclo na filmografia do diretor, evidenciado por meio do processo de revisão do próprio cineasta sobre sua maneira de documentar. Palavras-chave: Geraldo Sarno; cocumentário brasileiro; cinema e religião. Resumen: Este texto se ocupa del conjunto de documentales sobre la representación de la temática de la religiosidad en diferentes religiones y abordajes, serie esa dirigida por Geraldo Sarno en las décadas de 1970 y 1980. La realización de estos documentales forma parte de la transición sutil y gradual hacia un nuevo ciclo en la filmografía del director, evidenciado mediante el proceso de revisión del propio cineasta sobre su manera de documentar. Palabras clave: Geraldo Sarno; documental brasileño; cine y religión.

2025

Un ampliamento della bibliografia stilata da Pasolini per il suo Salò o le 120 giornate di Sodoma (1975). Una catena di libere associazioni tra opere e testi che vuole indagare la complessa natura intertestuale del film. «Cabiria.... more

2025

This collection took a variety of twists and turns as it developed from an idea hatched by Jason Steed in 2005 to the collection you see before you. First and foremost, I thank the contributors, especially those who have been along for the entire ride, for their patience, support, enthusiasm, and talent. Murray Pomerance was especially helpful in shaping the collection, and his advice and efforts are very much appreciated. I also thank the professional and user-friendly team at Palgrave, including Brigitte Shull and Lee Norton, for their help and encouragement. On the home front, the College of Humanities and Social and Behavioral Sciences at Central Michigan University assisted with the completion of this volume by providing me with an Alternative Assignment and the English department, including my wonderful colleagues Marcy Taylor, Ari Berk, and Kristin McDermott, were a constant source of inspiration and encouragement. Most significantly, here as in everything else, the love and support I receive from my wife, Astrid, and my parents, Alan and Madeline Weinstock, sustain and uplift me. I thank you all.

2025, Schermi

According to an established historiography, post World War II Italian cinema owes much of its international success to the French intellectual milieu. In this process of reception, the work carried out by exiled Italian intellectuals, who were responsible for promoting neo-realism on the other side of the Alps for diplomatic purposes but without neglecting questions of an aesthetic nature, deserves attention. By relating certain aspects of the socio-historical context with the analysis of some critical texts, this article aims to reconstruct some trajectories of reception of neorealist cinema in the Italian-French press between 1945 and 1950.

2025, Journal for Religion, Film and Media

Hayao Miyazaki, co-founder of Studio Ghibli and one of animation's most respected figures, has captivated audiences for decades with his meticulously crafted worlds and profound narratives. After announcing his retirement following Kaze Tachinu (The Wind Rises, Hayao Miyazaki, JP 2013), Miyazaki's return to filmmaking with Kimitachi wa Dō Ikiru ka (The Boy and the Heron, Hayao Miyazaki, JP 2023) was met with global anticipation. Released in Japan on 14 July 2023, after nearly seven years in production, the film eschewed common marketing strategies: no trailers or extensive promotions -just a poster featuring a hand-drawn heron. This unconventional strategy only heightened interest, contributing to Studio Ghibli's most successful box office opening in Japan to date. Internationally titled The Boy and the Heron, the original Japanese title, which translates to "How Do You Live?", arguably captures the film's introspective themes and literary roots more accurately.

2025

Quand j'étais au collège, mon père m'avait offert un manuel de français des années 1970, Le Français : lire, écrire, parler 5e (Bordas, 1975). Étonnamment moderne pour son époque à mes yeux, ce recueil de textes comprenait entre autres une bande dessinée sur des enfants voyageant dans la Rome antique pour apprendre quelques mots de latin, et une autre, purement humoristique, sur des Vikings. Un texte en particulier m'avait frappé, un extrait de roman aussi fantaisiste que futuriste, avec des personnages aux noms poétiques : Sinusia, Triagul ou Parhélia. C'est grâce au site Barjaweb que j'ai retrouvé récemment l'origine de cet extrait : Le Grand Cataclysme d'Henri Allorge. Henri Allorge (1878-1938) ne fait pas vraiment partie des auteurs connus, régulièrement réédités et célébrés. Il est vrai que son oeuvre est réduite et

2025

Freud's explanation of the origins of the birthing male makes sense as we have seen his argument corroborated in the foregoing patriarchal creation myths such as: Yahweh, Adam and Prometheus, where the first man is fabricated out of dust... more

2025

2025, Chroniques italiennes, 12, Université de la Sorbonne nouvelle

2025, Brill

Taking cues from the Jewish and Christian movements against the theodicy discourse known as “theodicy of protest” or “antitheodicy,”
in this contribution, I explore the potential for constructing an Islamic theodicy of protest. I will examine which aspects of these movements I can utilize for my response and which aspects I will avoid. Drawing on Navid Kermani’s investigations in Islamic literary tradition, and leveraging his identification of the Islamic motif of the “pious rebel” – akin to the biblical Job motif – I will further explore this motif within Islamic poetic tradition (introducing some poetic pieces by Muhammad Iqbal and Mehmet Âkif Ersoy). This exploration aims to provide sufficient material for my endeavor to shape an Islamic theodicy of protest, as a novel practical response to the problem of evil within the Islamic thought.

2025

Il convegno internazionale di studi in occasione del 150° anniversario della prima spedizione missionaria salesiana, organizzato dall'Istituto Storico Salesiano e dall'Università Pontificia Salesiana offre un'analisi approfondita del... more

2025

Phillippa Berry has written a solidly researched and ambitious study of the impact of Elizabeth I and the cult of the Virgin Queen on Elizabethan literature. Berry\u27s stated goal is to clarify contradictory relations of gender in the discourses of idealized love of Petrarchan love poetry and Neoplatonic philosophy, which so much influenced Renaissance literature. Berry wishes to explore the interrelationship between the love discourses and the cult of Elizabeth. As her title suggest, Berry is concerned to examine a number of literary texts that intertwine issues of sexual and political power. She argues that in sixteenth-century France as well as England the ideology of absolutism appropriated idealized attitudes toward love. These concerns, Berry believes, helped to shape the way monarchy was represented aesthetically. ... What is most problematic about Berry\u27s work is her highly specialized language and difficult prose style, which will limit the accessibility of her work and...

2025, IMAGO

ABSTRACT
Questo studio si propone di colmare , per quanto possibile , una lacuna di ricerca relativa a uno dei
film incompiuti di Orson Welles, The Other Side of the Wind. Grazie a un'analisi strutturata e approfondita
di vari archivi wellesiani , sia europei che nordamericani , è stato possibile consultare e
confrontare una notevole quantità di bozze di sceneggiatura , redatte da Orson Welles nell'arco di
diversi anni , tra l'aprile del 1971 e il settembre del 1974. Un confronto che ha permesso di stilare
lo Stemma codicum della sceneggiatura di The Other Side of the Wind.
Parole - chiave . The Other Side of the Wind , Archivio Orson Welles di Torino, Filologia del cinema
This study aims to fill , as far as possible , a research gap relating to one of Orson Welles' unfinished
films , The Other Side of the Wind. Thanks to a structured and in - depth analysis of various Wellesian
archives , both European and North American , it was possible to consult and compare a substantial
quantity of screenplay drafts, written by Orson Welles over several years , between April 1971 and
September 1974. A comparison that made it possible to draw up the Stemma codicum of the
screenplay for The Other Side of the Wind .
Keywords. The Other Side of the Wind ; Orson Welles Archive of Turin ; Philology of cinema

2025

In this paper, the author analyzes Woody Allen's film Vicky Cristina Barcelona through an existential lens, drawing parallels with the philosophies of Jean-Paul Sartre and Albert Camus. The characters Vicky, Cristina, Juan Antonio, and María Elena embody existential dilemmas, exploring themes of individual freedom, choice, and the search for meaning in an indifferent world. The analysis delves into Sartrean concepts of bad faith and radical freedom, contrasting Vicky's societal conformity with Cristina's Camusian pursuit of meaning through experiences. The characters' interactions reflect the unpredictable and absurd nature of human relationships, echoing Camus's exploration of the absurdity of emotions. The non-linear narrative structure aligns with existential themes, emphasizing life's unpredictability, and Barcelona serves as a metaphor for the complexities of existence. Woody Allen's narrative and artistic choices invite viewers to reflect on the intricate interplay of love, desire, and chance encounters in the context of existentialism.

2025

This is a book review of Berna Gueneli's Fatih Akin's Cinema and the New Sound of Europe (Bloomington:

2025

In the current dominant white-patriarchal-capitalist world order, minorities, women, and nonhumans are caught in what René Girard calls "the mimetic triangle." i This theory postulates that a subject's desire for an object is mediated through the desire of a model. ii Mimetic desire or triangle leads to rivalrous competition with the model (the person modeling desire) and eventually prompts a subsequent cathartic solution: the scapegoat mechanism. Mimetic and scapegoating mechanisms are omnipresent in daily life and media, and become intensified in this current time of pandemic crisis, where they manifest in forms of racism, sexism and eco/homo/xenophobia. How does media, such as internet, social media, and particularly film, contribute to or ameliorate the mimetic triangle in which minority groups and women are victims or scapegoats for panepidemic and climate change Anthropocene? This essay zooms in on the gender dimension of mimetic triangle and scapegoatism, I consider the figure and trope of woman as Other in three pandemic films, Hong Kong: A Winner (Stephen Chow, Hong Kong, 2003), Contagion (Steven Soderbergh, USA, 2011), and The Che Brother (Anysay Keola, Laos, 2020). Two of the films are shorts, compared to the large, Hollywood film, Contagion, and help demonstrate how smaller films, less beholden to box office bottom lines, can make more daring statements. These films demonstrate the plight of women-as scapegoat or object of desire-in patriarchal, imperialist, and capitalist systems. They also provide ways of thinking about how bodies of women/Other are implicated in the construction of trans/nationalist, post/colonial, and capitalist/environmentalist discourses.

2025, VCU News

I review the film "Conclave" for VCU News

2025, Theologia reformata

In the Netherlands academic study of motion pictures is rare. Some theological circles do offer informed opinions on motion pictures, but offer little constructive dialogue. A well-formed and intelligent reflection on these aspects of popular culture would serve Christians well. This article identifies differences and similarities in religious attitudes toward popular culture, media in general, and movies in particular. Progress in these discussions requires theological discussion of the moral and anthropological views underpinning attitudes toward movies.

2025

Sammanställning gjord av: Tore Jungerstam, doktorand inom GT-exegetik vid Åbo Akademi. 2024. För mer av Tore Jungerstams forskning se https://urhistorien.com Ullikummis sång är ett hurritiskt verk som tillvaratagits av de senare... more

2025, Religions

Directed by Ryan Coogler, the film Black Panther portrays the heroes of the fictional African kingdom of Wakanda as godlike. They possess otherworldly sophistication by virtue of their blackness, in contrast to longstanding tendencies in mainstream film toward tokenism, stereotyping, and victimhood in depictions of people of African descent. The superhero the Black Panther, a.k.a. King T'Challa, learns to stand in solidarity with the oppressed, even those in whose oppression he has been unwittingly complicit, such as the children of the African diaspora. As a result, the film can function as catalyst for reflection on the part of viewers in terms of how they might perceive more clearly the complexity, variety, and ambiguity represented by blackness, whether others' or their own, and how they, too, might identify with the Other.

2025, Kaiak. A Philosophical Journey

The rapid evolution of conversational artificial intelligence (AI) has sparked an ongoing debate regarding its ability to replicate, or even experience, human emotions. While early conversational chatbots such as Joseph Weizenbaum's ELIZA (1966) relied on simple pattern recognition to create the illusion of understanding, modern AI systems like ChatGPT generate highly sophisticated, contextually appropriate responses that can convincingly mimic emotional engagement. Drawing on cinematic reflections such as Spike Jonze's Her (2013) as a case study, this paper critically examines whether AI can genuinely experience emotions or merely simulate them through advanced language modeling. Using a theoretical framework grounded in philosophy, psychology, and communication studies, this research critically examines AI's capacity for emotional experience and argues that while chatbots can convincingly simulate human emotional expression, they lack the subjective awareness, intentionality, and physiological grounding that define authentic emotions. This distinction, nowadays, has profound implications for human-AI interaction, ethics, and our understanding of artificial intelligence's humanity in contemporary society.

2025, Византия, Европа, Россия: социальные практики и взаимосвязь духовных традиций.

В работе анализируется рецепция социально-политических идей стоиков на страницах ряда российских периодических изданий конца XIX столетия (журналы «Дело», «Русская мысль», «Вера и разум» и др.). Показано, что рост интереса публики к стоикам в это время отразился в ряде исторических и концептуальных исследований в области социально-политической философии и философии права, а также во включении стоических идей в актуальный политический дискурс, о чем свидетельствуют статьи на эту тему в крупных российских журналах. Если члены революционного движения И.И. Добровольский и Н.В. Щелгунов в журнале «Дело» подвергли стоиков обстоятельной и резкой критике, оценивая их как квиетистов а их учение как помеху на пути позитивного преобразования общества, то видный публицист И.И. Иванов, известный впоследствии своими консервативными взглядами, на страницах «Русской мысли» писал о революционном, позитивно-преобразовательном духе их идей. Продуктивность его интерпретации демонстрируется обращением к «стоическому элементу» в периодике Университетского благородного пансиона, после 1825 г. рассматриваемого властями как рассадник революционных идей

2025, E-CineIndia

A critical and evaluative study on Survival and rescue movies made in Malayalam.

2025, Journal of Religion and Film

This is a book review of Berna Gueneli's Fatih Akin's Cinema and the New Sound of Europe (Bloomington:

2025, Palm Beach Atlantic University – Christian Values & Biblical Faith

This paper provides a theological and ethical analysis of the 1986 film The Mission, focusing on the moral dilemmas faced by the key characters, Rodrigo Mendoza, Father Gabriel, and Father Altamirano, in the context of 18th-century Jesuit missions in South America. The film explores the tension between violence and nonviolence, justice and mercy, as characters grapple with the complex intersection of Christian faith, institutional duties, and personal convictions. Mendoza’s decision to resort to violence to protect the indigenous Guaraní people contrasts with Father Gabriel’s commitment to peaceful resistance, while Father Altamirano faces the challenge of balancing the preservation of the mission with the survival of the church. The paper discusses how the film portrays these ethical conflicts within the framework of Christian teachings, particularly regarding justice, the Kingdom of God, and the Kingdom of the World. It also reflects on the broader implications of these themes in contemporary Christian thought, examining the challenges of living a devout Christian life in the face of real-world adversity. The paper highlights the importance of genuine discipleship and the commitment required to live according to Christian principles, as illustrated by the characters' actions and decisions in the film.

2025

In 2004 the faculty of Salt Lake Theological Seminary in Salt Lake City gave a series of lectures responding to Mel Gibson's Passion of the Christ. This is the paper I contributed, which I present here in light of Gibson's plans to produce a sequel focused on Christ's resurrection I discuss the traditional sources influencing the movie and interact with various objections to it.

2025, Sekans

This article is the English translation of the essay titled “Tanrı Bize Neden Hiç Cevap Vermez? Silence (Sükût) Üzerine Bir Kritik" published in the 26th issue of Sekans Cinema Culture Journal.

2025, Din ve Bilim

Endonezya’nın Sumatra Adası’nda bulunan Minangkabau topluluğu, dünya üzerindeki en büyük anaerkil toplum olarak dikkat çekmektedir. Nüfusu yaklaşık 8 milyon olan bu topluluğun büyük bir kısmı Müslümandır. Anaerkil bir toplum yapısının İslam ile bir arada olabilmesi, ilk bakışta çelişkili bir durum gibi görünebilir. Ancak Minangkabau topluluğunun tarihini incelediğimizde, bu iki yapının nasıl bir arada var olabileceğini anlamamıza yardımcı olacak pek çok ilginç örnek ve gelişme bulabiliriz. Minangkabau halkı başlangıçta animist bir inanca sahipken, zamanla Budizm ve Hinduizm gibi farklı dinler ve kültürlerle de tanışmışlardır. 15. yüzyılın sonlarına doğru ise, Minangkabau toplumu İslam’a geçiş süreciyle birlikte, daha önceki alışkanlıklarından İslam’a aykırı olan tavuk dövüşleri, kumar, içki gibi aktivitelerden uzak durmaya başlamıştır. Fakat anasoylu olan bu toplumda miras anadan kız çocuklarına geçmektedir ve adat olarak isimlendirdikleri geleneklerini koruyarak bu miras sistemine devam etmektedirler. Minangkabau toplumu, özellikle soy, evlilik ve miras konularında belirgin bir anaerkil yapıya sahiptir. Ailede soy anneden geçer ve çocuklar annelerinin soyadını alır. Miras, sadece kız kardeşler arasında paylaştırılır ve kadınlar,
aile içindeki mülkiyetin kontrolünü ellerinde bulundururlar. Kadınlar toplumsal törenlerde çok önemli bir rol oynar; düğünler, hasat kutlamaları ve kabile lideri seçimi gibi etkinliklerde liderlik, genellikle kadınların elindedir. Aslî Minangkabau kültürüne göre evin reisi, ailedeki erkek değil, kadındır. Aile yapısı, genellikle kadınlar, evli ya da bekar kızlar ve kız torunlardan oluşur. Evlilik söz konusu olduğunda, kadınlar başlık parası öder ve damat, karısının evine taşınır. Koca, karısının evinde misafir gibi yaşamaktadır. Minangkabau toplumu, pek çok antropolog ve araştırmacı tarafından son derece ilgi çekici bulunmuştur. Hem dünyanın en büyük anaerkil topluluklarından biri olarak görülmeleri hem de İslam’ı benimsemiş olmaları onları benzersiz kılar. Minangkabau halkı, kültürel miraslarını İslam ile harmanlayarak kendi
toplumsal yapılarında önemli bir denge oluşturmuşlardır. Bu çalışma, Minangkabau’nun anaerkil kültürünü ve bu kültürün İslam ile nasıl bir arada var olduğunu inceleyerek, toplumların geleneksel ve dini yapılarının nasıl birbirini dönüştürdüğünü tartışmayı amaçlamaktadır.

2025, Sekans Sinema Kültürü Dergisi

Martin Scorcese'nin Silence filmi üzerinden inanç üzerine bir deneme

2025

Rather than a fixed object, a finite representation of infinity, this paper argues that God is a process.

2025

“Jesus handed out forgiveness whenever anyone humbly approached him.
He acted like a mobile temple”.
John Dickson.

2025, Journal of Religion and Film

This is a book review of Alberto Fernández Carbajal's Queer Muslim Diasporas in Contemporary Literature and Film. Author Notes Author Notes Hina Muneeruddin is a doctoral candidate at the University of North Carolina at Chapel Hill in the Islamic Studies track of the Religious Studies program and a graduate certificate candidate in Women and Gender Studies. Her research lies at the intersections of islam(s), gender, race, affect, and performativity within the United States. More specifically, she is interested in the quotidian scenes of becoming of Muslim femmes.

2025, BRILL eBooks

Academic books often have a lengthy genesis, slowly coming into focus after conference panels, course seminars, workshops, and the like. That was not the case with this project. When Martin Scorsese released Silence in December 2016, we each marveled at the fact that Scorsese's long and varied interest in religion had not received more focused attention in the scholarly world. We had just completed the anthology Theology and the Films of Terrence Malick (2016) and enjoyed the process so much that a volume on Scorsese not only made good sense but sounded like fun. A proposal was drafted; emails were dispatched; phone calls were made. Voilà! We had a plan, contributors, and an exciting new project underway. Much of the credit for this quick process goes to Martin Scorsese himself -a filmmaker of singular vision, whose oeuvre ranks among the very best in cinematic history. Indeed, it was not difficult to find persons who wanted to contribute to this book, and that is a testimony to the enduring power of Scorsese's films. At the same time, however, a proper academic book entails much more than enthusiasm. Thus we also would like to thank all the people at Brill, including our editor Tessa Schild and, above all, James Najarian and Eric Ziolkowski, who oversee Brill's Studies in Religion and the Arts series. Their interest and investment is much appreciated. The same is true of our respective universities and departments, who have provided the moral support and the tangible resources needed to complete this endeavor. Finally, we would like to thank the various individuals who have contributed this project, whether indirectly (as in each of our families) or directly (as in students with whom we have discussed the subject matter). To whatever extent this volume is successful, we owe them our gratitude; to whatever extent it is lacking, the fault is our own.

2025

This paper will argue that Terrence Malick is a theological filmmaker, even though scholars have preferred to emphasize his indebtedness to Martin Heidegger. It will proceed by way of Malick's use of wind imagery. First, it will show that the wind motif recalls theological notions about God as spirit. Second, it will illustrate how Malick employs wind imagery, revealing a sensitivity to the wind's evocation of God's presence and absence. Third, it will argue that Malick's cinematic restraint identifies the practice of detachment [Gelassenheit] as the link between his theological and Heideggerian interests.

2025, Journal of Children in Popular Culture

Shivering atop of an abandoned tower - the overtures of lost adolescence and masculinity measured through landscape - are delineated in the opening scene of The Return. Twelve-year-old Ivan, having chosen not to leap into the freezing... more

2025

Used to keep notes on screened films.