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What are the political, gender, and theological implications at stake when associating Jesus with modern combat and righteous violence? Jesus is rendered in combative form across media—i.e., live-action films and shorts, animated television, sketch comedy, graphic novels, and video games. This rendition occurs at a confluence of meaning, most immediately for the sake of generating comedy through juxtaposition (in this case, rendering the meek with a sword) and/or reaffirming Jesus’ prominent cultural value through an association with other popularly mediatized entities. Beyond these initial layers of significance, however, I argue that Jesus becomes associated with violence and brutality for the sake of de/legitimizing politically conservative ideologies with respect to Christianity and American exceptionalism, redeeming the crisis of “domesticated masculinity” and fortifying traditional masculine norms, and theologically reinstituting popular paradigms of low Christology. Ideological “manhood” remains traced to one’s ability to perform traditional gender roles (i.e., family provider, community protector, and father/procreator). To capture the discrepancy that Jesus of Nazareth, as presented in canonical gospels, largely concerns none of these roles, I analyze the hypermasculine Christ, and the various weapons he employs, as part of a popular genealogy of Western value systems and discourse. Though in this article I reference some examples of non-American media, I reserve my analysis and commentary for the stakes and implications of what it means for U.S. Americans to produce and consume such content. In short, I submit that popular America idolizes itself in the form—one amidst many—of a naïve, combative, and boorish Christ: an arrogant and, at times, narcissistic man with delusional views of the world made dangerous through invasive power and authority. Western entertainment has deemed the United States (through its fictional stand-ins) as morally failing yet still chosen. Within this logic, American Christians need not reform their ways as long as they cultivate evidence of their exceptionalism. Full article

Ditsi Carolino’s “Huwag Kang Papatay” (Thou Shall Not Kill, 2017) is an unconventional Jesus film. As a documentary, it presents the problems and the responses by members of the Roman Catholic Church in Metro Manila to the so-called “War on Drugs” (commonly known as Tokhang) of the Duterte government that resulted in thousands of extrajudicial killing (EJK) victims. From a biblical lens, this paper analyzes examples of grassroots recontextualizing interpretations of select Matthean passages like (1) Mt 6:9−13, the Lord’s Prayer, in the context of praying for an extrajudicial killing victim; (2) Mt 2:1−18, a street theater adaptation showing the massacre of the innocents, representing the beginning of the EJKs; and (3) Mt 27:27−50, a street theater adaptation of Jesus’ passion recontextualized in the plight of the victimized drug personalities. These episodes are examined using insights from biblical narrative criticism, performance criticism, empire studies, ritual studies and a liberationist approaches. The paper concludes that biblical interpretations from the ground in this documentary film demonstrate Matthew’s anti-empire message by recontextualizing Jesus’s story in the context of extrajudicial killings to advocate for political dialogue and action-response against human rights violations and development issues caused by the EJKs. Full article

The film Sunset Limited is an HBO adaptation of Cormac McCarthy’s play of the same name, and it is an in-depth character study of two individuals: Black (played by Samuel L. Jackson) and White (played by Tommy Lee Jones). In the beginning of the film, Black has already saved White from committing suicide and they are sitting together at a small, round kitchen table; viewers learn that Black was going to work when he saw White on the train platform about ready to jump in front of the Sunset Limited. Black is a religious Christian and White is an outright atheist; one believes in Jesus Christ and one believes in nothing; one has faith and one has no faith in anything. These ideological standpoints (the lack of an ideology is still an ideology) are the foundation of this text. The focus of Suset Limited is the push and pull between religious belief (Black) and philosophical thought (White), which ultimately will determine whether White stays and decides to live, or goes and decides to take his life. In essence, Sunset Limited is an exercise in rhetoric, in the art of persuasion, and how this artform can be used in both religious and secular conversation. This study of Sunset Limited will devote time to Cormac McCarthy’s connections to religion and philosophy using research about his work; then, there will be an in-depth textual analysis of the film, which will speak to not only who these characters are but also what they want to relay to one another about what they know (rather than what they believe) about the world. Black and White are polar opposites of each other (black and white); what this essay intends to prove is that there are similarities to their thought processes, even if they may not recognize it. Full article

Instead of trying to recreate the ancient life of Jesus, Mark Dornford-May’s film Son of Man depicts many famous scenes from the gospels, reworked to tell the story of Jesus in the fictitious “Kingdom of Judea, Afrika” with the concerns of local and global poverty, violence, and imperialism. Jesus’s life turns when he directly challenges the Judean leadership, and his arrest, torture, and death reinterpret the dynamics of power from first century imperial Rome in brilliantly analogous fashion both for a localized South African setting and for global settings that struggle under violently repressive governments. Jesus’s death stands as the focal point of communal resurrection, inspiring Mary to challenge the oppression perpetrated by those in power. Jesus’s death serves to express the complexities of international injustice in South Africa and other countries in Africa and around the world, to embolden and unite an oppressed community, and to shine a light on a mother as the leader of this resurrected community. Full article