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Sensing Religion in Alfonso Cuarón’s “Children of Men”

Arts and Sciences Faculty, Syracuse University, 301 Hall of Languages, Syracuse, NY 13244, USA
Academic Editor: Joseph Kickasola
Religions 2015, 6(4), 1433-1456;
Received: 26 September 2015 / Revised: 30 November 2015 / Accepted: 7 December 2015 / Published: 19 December 2015
(This article belongs to the Special Issue Film and Lived Theology)
PDF [2523 KB, uploaded 19 December 2015]


This essay attends closely to the affective excess of Children of Men, arguing that this excess generates two modalities of religion—nostalgic and emergent—primarily through a sensitive use of color and music. These affective religious modalities are justly termed “religion” not only because they are sutured to overtly Christian names, images, and thematics, but also because they signal the sacred and transcendence, respectively. The essay reads the protagonist, Theo Faron (Clive Owen), as navigating these two modalities of religion, not as a hero but as what Giorgio Agamben terms “whatever-being.” Noting Theo’s religious function draws attention to transformations of political being and human hope. View Full-Text
Keywords: affect; Children of Men; emergent religion affect; Children of Men; emergent religion

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This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).

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Hamner, M.G. Sensing Religion in Alfonso Cuarón’s “Children of Men”. Religions 2015, 6, 1433-1456.

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