Search Results (30)

This article is an attempt to analyse how monastic communities are presented in the latest Russian cinematography. It is an issue that has not been well researched so far, because scholars tend to focus primarily on broadly understood religious films. Considering the achievements of the last 25 years, two selected films were analysed in terms of the aforementioned themes, both at the level of visual and verbal representations, as well as at the level of interpretation. In addition, the attitude of the Russian Orthodox Church to individual visions of the artists was taken into account. The research results indicate that one can identify the most popular motifs in films about monastic life. Moreover, the monastery itself most often becomes a place of refuge and at the same time a place of transformation for the heroes. In recent years, the Russian Orthodox Church has had a significant impact on artists’ visions. Full article

Film, as a medium, serves not only as a significant source of entertainment but also as a powerful instrument in shaping attitudes, beliefs, behaviours, social norms, and identities. Since its inception, cinematic art has been closely intertwined with religious themes, with many film narratives drawing implicitly or explicitly from biblical texts and religious traditions. Consequently, theologians and ecclesiastical authorities were quick to identify film as a potential locus theologicus. Given film’s ability to spark debates on deeply ingrained views and beliefs, feminist theology, which critically reflects on gender power relations within religious communities and theological texts, finds it intriguing to explore how cinematic narratives can challenge the millennia-old depiction of God as a man. This article aims to examine how the art of cinema contributes to theological reflections on the female metaphors of God, particularly through female Christ-figures and God-figures, which occasionally appear in films such as Chocolat, All That Jazz, Always, Dogma, and The Shack. These characters defy traditional religious language, which often employs masculine imagery and metaphors for God, portraying female God as an independent chocolatier, a single mother, an elegant hairdresser, a beautiful young seductress, a curvaceous African American bread maker, and a witty, clownish girl. In these cinematic depictions, female God is compassionate, empathetic, kind, witty, forgiving, and profoundly in love with her human creations. At the same time, all of these female characters are powerful, assertive, strong, and self-confident. Full article

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the same name suggests, is that the construction of the monster in popular culture is fraught with the boundaries that constitute the society that has spawned them; the monstrous body “exists only to be read” (p. 4). Bringing together the theoretical insights of the Marxist theory of reification, critical animal studies, and monster theory, this article examines the ways in which cinematic depictions of gigantic monstrosity can inform our theorizing of multispecies relationships under capitalism. Specifically, I explore how the tensions between capital and human-animal relationships serve to construct and constitute the multiform monster, Jean Jacket, in Jordan Peele’s 2022 film Nope. Through an examination of the multispecies relationalities that the film portrays, I argue that the figure of Jean Jacket is a monstrous culmination of the reified and therefore, necessarily deferred nature of human-animal relationships under capital. However, Nope’s conclusion alerts us to the radical dereifying potential of multispecies bonds of care and embodied knowledge; systems of resistance that can be forged even within our current capitalist ruins. Full article

Drawing on the insights of media ecology, this essay explores the potential of media to mobilize representations, feelings, and habits to transform individuals into extensions of media themselves. Specifically, I undertake an analysis of the South Korean film Oldboy, which I argue demonstrates how, in the contemporary moment, media narratively and affectively mobilize individuals to become not only ideological subjects but also media appendages that, consequently, carry out cinema’s central functions. Full article

Contemporary politics is filled with anxiety about the survival of democracy—particularly within a framework pitting liberal representative democracy against authoritarianism. In times of anxiety about authoritarianism, Western artists repeatedly return to a masterpiece of relatively early cinema: Robert Weine’s silent film Das Cabinet des Dr. Caligari, or The Cabinet of Dr. Caligari. This essay examines three twenty-first century adaptations: David Lee Fisher’s 2005 remake of the film; James Morrow’s 2017 novel, The Asylum of Dr. Caligari; and Georgie Bailey’s 2022 play Caligari. I argue that while the direct politico-cultural anxieties of Weine’s film have often been overstated, the emergence of adaptations during periods of heightened concern about authoritarianism reflects a deep-seated reception of the film as anticipating autocratic governance. However, for all its fears about power, control, and the loss of self-determination, Weine’s movie also contains the seeds of liberation. Cesare ultimately sacrifices his own life rather than murdering Jane. And it is this gesture that the adaptations examined here seek—a gesture of resistance. The sleepwalker can awaken and assert a form of just resistance in the world, even if the penalties are steep. Full article

This study explores the transformative potential of integrating Building Information Modeling (BIM) and Generative Design methodologies in heritage conservation and building management. By utilizing BIM, detailed architectural, structural, and MEP models were created, facilitating precise design and effective stakeholder collaboration. Generative Design enabled the exploration of multiple design solutions, optimizing spatial layouts and structural integrity. The project also integrated automated management systems and IoT sensors to enhance real-time monitoring, energy efficiency, and user comfort through the development of a digital twin. Despite encountering challenges such as technical complexities and budget constraints, the project successfully preserved the cinema’s historical essence while incorporating modern functionalities. The findings highlight the contributions of BIM and Generative Design to the AEC industry, emphasizing their role in improving design accuracy, operational efficiency, and sustainability. This research provides valuable insights for future projects in heritage conservation, offering a blueprint for balancing historical preservation with contemporary needs. The revitalization of the “Ex Cinema Santa Barbara” in Paternò exemplifies these advancements, demonstrating how these technologies can restore and modernize culturally significant historical buildings effectively. Full article

Alfred Hitchcock, the master of suspense, is renowned for his unique cinematic style and profound insights into the complexity of human nature. Among the various female characters in his films, the mother figure holds a particularly significant place. This article proposes the concept of “maternal emptiness” to describe the predicament of the mother figures in Hitchcock’s films, where they are often depicted as distorted, dark, and somewhat lacking in maternal essence. Drawing on psychoanalytic and feminist film theories, especially the works of Jacques Lacan, Julia Kristeva, and Laura Mulvey, this study aims to deconstruct Hitchcockian “maternal emptiness” and explore its deep-rooted causes. Through a systematic examination of the mother figures in Hitchcock’s filmography, this article identifies the following three main categories: the mother roles of blonde women, the mother roles of female protagonists, and the mother roles of male protagonists. Close textual analysis reveals that these mother figures, despite their apparent diversity, share a common plight—a deviation from the maternal essence of love, care, and nourishment. This “maternal emptiness” is further traced back to Hitchcock’s childhood traumas, the patriarchal ideology in the cultural context, and the changing status of motherhood in modern society. By engaging critically with existing Hitchcock scholarship, including the works of Tania Modleski, Paul Gordon, and Slavoj Žižek, this study situates the concept of “maternal emptiness” within the broader discussions of motherhood in cinema. It explores how Hitchcock’s representation of mothers both reflects and challenges contemporary understandings of maternity. Furthermore, this study examines the enduring influence of Hitchcock’s maternal representations on contemporary cinema, analyzing films such as Darren Aronofsky’s “Mother!” (2017) and Ari Aster’s “Hereditary” (2018) to demonstrate the ongoing relevance of “maternal emptiness” in modern film discourse. The study concludes by considering the legacy of Hitchcock’s maternal representations in contemporary cinema, demonstrating the ongoing relevance of the concept of “maternal emptiness” in film analysis and its potential for reimagining maternal subjectivity in cinematic representation. Full article

Representations of Christianity in contemporary Chinese cinema are very limited, making the scholarship of this subject underexplored. Filmmaker Gan Xiao’er has made three feature-length independent films focusing on Christianity in China. These films, The Only Sons (2003), Raised from Dust (2007), and Waiting for God (2012), are used for case studies, with close analyses of their narratives and formal elements. They are also examined in the social and cultural contexts of postsocialist China. This article argues that Gan’s religious features are significant in the context of postsocialist Chinese cinema. They not only depict the religious experience of Chinese Christians, which has been under-represented cinematically, but also provide a religious critique rarely seen in Chinese films. On the one hand, these films critically engage with the experience of underprivileged people during the Reform period, when economic development and materialism became dominant, while the socialist political system remained. Gan’s religious features provide an alternative perspective that cares for people’s spiritual needs. On the other hand, Gan’s later films interrogate the local religious institution in China, questioning the arbitrary separation of the ‘holy’ and the ‘unholy’, proposing a more inclusive approach to the religious concept of love. Full article

Everyday landscapes, including peri-urban areas, play a pivotal role in shaping our physical and mental environments. Nevertheless, spatial planning often falls short of integrating contemporary everyday life and lived space. This paper advocates for an expanded approach beyond traditional planning methods, exploring the potential of artistic representations like drawings, photographs, and films to capture the nuances of peri-urban landscapes. Based on a selection of contemporary artistic works in the fields of drawing, photography, and cinema, this paper explores, through an analysis of specific projects and interviews with the artists, the potentials and constraints of these types of representations. This analysis of selected works reveals that these mediums embody a rich and complex collective journey, showcasing the profound connection between the artist and the environment. Structured around the key stages of analysis, documentation, and communication, the discussion elucidates the interrelated nature of these phases within a broader creative process. It underscores the significance of recognizing these artistic representations as integral components in planning processes, emphasizing their potential to provide unique insights into the complexities of peri-urban landscapes. In conclusion, this article proposes a set of recommendations for the incorporation of these artistic mediums within planning processes and urban studies. Full article

With the increased availability of streaming services and access to international content a feature of today’s media consumption, can social media be used to explore the potential of global cinema to inform audiences about religion and society? As a media form, movies play a role in educating as well as entertaining society at large; narrative arcs from Bollywood, Hollywood, and beyond inform audiences about contemporary religious concepts. This research makes use of a practice-based journalistic methodology to explore the educative role movies can play in informing audiences about religious and societal concepts; the researcher produces a creative artefact appropriate for the discipline of journalism (in this instance, a social-media-based curated collection of movie reviews), with a contribution to the wider knowledge that is contextualised by this study. Using a deductive approach, the researcher narrows down an initial list of films, from a global selection of cinematic output, that covers religious and societal themes through a range of lenses (such as characters’ well-being, trauma, religious practice, and cultural values). The concepts and ideologies explored through this study and the construction of a social-media-based movie database suggest that cinema can play an active role in informing audiences about religion and society, instead of merely entertaining across cultures. The concepts and ideologies explored in this paper, through the construction of a social-media-based movie database, show that religious and societal issues in movies can be an important aspect of the lives of millions in the cinema-going audience. Full article

In the 20th and 21st centuries, the rise of audio-visual media, particularly cinema and television, brought about new visual techniques and storytelling conventions that have transformed the way fairy tales are adapted for the screen. Initially adapted for a younger audience, newer adaptations often return to the darker and more horrific elements of the source texts; this includes body horror and an emphasis on physiological differences. This article employs structural, cultural, and folkloric interpretive lenses for the analysis of three contemporary, audio-visual fairy tales to discuss the way contemporary fairy tales include disability and difference as social constructs that are shaped by cultural attitudes and anxieties. The stories’ plots are driven by the protagonists’ “otherness”, and these texts feature transformations that provide clues to understanding current standards of beauty and normality. I argue that newer adaptations place an emphasis on finding resolutions to difference that challenge the traditional idea that if one has a face or body that strays from the standard of the norm, one must die, relegate oneself to the margins, or join others like oneself. Full article

This is an interview with moving image artist, writer, and contemplative practitioner, Marilyn (M) Freeman by artist, Cat Auburn. They explore Freeman’s contemplative filmmaking practice, ‘Cinema Divina’ and the relationship of Freeman’s life, artistic practice and research interests to autotheory. Autotheory is widely held to be the coalescence of autobiography with theory (or philosophy) within a work of art or literature, often with an aim towards offering social or cultural narration and service. The impulse to collaborate on this interview came from Auburn’s encounter with Cinema Divina during an online group contemplative session facilitated by Freeman in February 2022. This interview covers Freeman’s development of Cinema Divina, such topics as Freeman’s theory of Vertical Dissonance, the risks of working autotheoretically, mysticism, interior life, the hierarchies of knowledge production and the potential for what Freeman calls ‘the illuminated space’ to create radical opportunities for personal transformation. Ultimately, this interview establishes that Cinema Divina can be seen as an autotheoretical practice that uses contemplative practices rooted in lectio divina, a meditative prayer ritual of early Benedictine monastics, to theorize through Freeman’s embodied, lived experiences and artistic outcomes. Full article

Questions about the relationship between truth and fiction have a long history in philosophical thinking, going back at least as far as Plato. They re-emerge in more recent philosophical debates on cinema and are powerfully illustrated in Tim Burton’s 2003 film Big Fish, which narrates the story of Edward and his son Will, who tries to uncover the truth behind his father’s tall tales. Will’s desire for honesty—for facts rather stories—has led to a considerable rift between them. While the film extols the beauty of storytelling and the power of myth, it also raises questions about the relationship between honesty and myth, fact and fiction. This article explores these themes from a multidisciplinary perspective by drawing on diverse sources, including Friedrich Nietzsche’s Vom Nutzen und Nachteil der Historie für das Leben/On Truth and Lies in an Nonmoral Sense (1873), contemporary philosophical writings on fiction, the virtues of truthfulness, honesty and sincerity, as well as ideas on memoir and creative life writing drawn from literary studies. Overall, it argues for the positive, creative potential of storytelling and defends the idea that larger truths may often be found behind embellished facts and deceptive fictions. The final section expands this discussion to explore cinema’s power to create what Nietzsche called ‘honesty by myth’. Through the variety of background sources, the article also aims to demonstrate how ideas from multiple disciplinary contexts can be brought together to stimulate fruitful conversations on cinema, myth and the power of storytelling. Full article

Movies beyond the scope of Hollywood and entertainment have shaped notions of race in American culture since the early decades of cinema. A range of nontheatrical sponsors and creators in the US made films to serve practical functions in society—to inform, to organize, to persuade, to promote, etc. The US federal government was a major sponsor of many of these films, which provided American and foreign audiences depictions of race that differed considerably from popular commercial images. For example, Men of the Forest, a film made in 1952 by the United States Information Service focuses on the Hunters, a Black family who owns land and a forestry business in rural Georgia. A documentary of sorts, the film highlights Black life, work, and land ownership in the South in ways not seen in popular feature films of the day. Yet, in the film and others like it, histories of institutional racism are woven into cinematic form and content in ways that are distinct from the entertainment industry. The creators of Men of the Forest omit details of segregation in the South to emphasize the Hunter family as examples of American democracy, a choice suited to the film’s Cold War purpose: to counter the anti-American message of Soviet propaganda for foreign audiences. On one hand, by producing and distributing the film, the federal government acknowledged Black farmers and landowners in the Jim Crow South. On the other hand, it avoided the structural inequality surrounding the Hunters to frame their reality as an example of American democratic progress for international circulation. Today, government films like Men of the Forest prompt contemporary reflection on the institutional histories they represent and their evolution into the present. The film and many others are available online due to the digitization of collections from the National Archives, Library of Congress, and elsewhere. With this increase in access, contemporary scholars have the ability to investigate how the federal government and its various internal entities mediated racial ideologies with moving image technologies. As an example of such research, this essay examines Men of the Forest by focusing on the past and present contradictions that arise from its depiction of a Black family with land and an agricultural business in rural Georgia. Two recent events shed light on the histories reflected in the film and their contemporary significance. In 2018, Descendants of Men of the Forest, The Legacy Continues—a documentary created by family members of the film’s original participants—contextualized the original production as evidence of the Hunter family’s legacy in the community of Guyton, Georgia. Underlying this local effort, Men of the Forest serves as an important historical event and record of the family and the community. On a broader scale, in March 2021, Congress passed a large relief package for disadvantaged minority farmers, intended to help alleviate decades of systemic racism in government agricultural programs. Lawsuits from white farmers and conservative organizations followed quickly, challenging the provision of government aid based on race. In this federal context, Men of the Forest exposes an institutional image of individual success that downplays the structural racism facing people of color, especially those with agricultural livelihoods. Even as politics and legislation evolve, this vision of democracy once exported by the federal government has widespread currency and accumulating effects. The connections between Men of the Forest and these recent events reveal the racial politics at play in government films and the ways in which they take shape in the real world beyond the screen. Full article

This study explains the change in meaning that psychology has given to the relationship between religiosity and psychological well-being since the beginning of the 20th century, dating it back to the deep change introduced by post-modernity. Guilt is interpreted as a paradigm of this change in meaning, and the reflection that the different ways of understanding guilt have had on the screen is analyzed. The Content Analysis of a sample of 94 films showed 5 modes of expression of guilt that can be placed on a continuum from the traditional Judeo-Christian model that serves as a benchmark—harm-repentance-penitence-forgiveness—to the removal of guilt as a requirement for self-realization. The other three models emerge between these two poles: the absence of guilt as a psychiatric pathology; the resignification of the guilty act for the reduction in dissonance; and idealized regret at no cost. Studying guilt-coping models of the films allows us to infer the hypothesis that a large part of the current positive view of religiosity in psychological well-being is related to a culture that does not demand psychological suffering as a requirement for a full experience of spirituality. Full article