Search Results (36)

The film Defiance (2008) explores the true story of the Bielski Partisans in the Second World War, led by the brothers Tuvia and Zus Bielski. While the film is in many ways a conventional action-packed war story of resistance to Nazi domination during the war, the filmmakers conscientiously depicted the myriad and sundry ways Jews resisted Nazi racial hatred and the attempted extermination of European Jewry. The Bielski partisans are portrayed as violently opposing the Nazi domination and their Belorussian supporters in armed conflict; as engaging in acts of sabotage and destruction to hamper the Axis war effort; as preserving and engaging in Jewish culture and religion to ensure its propagation, even in the most extreme of circumstances; and as continually struggling for survival against Nazi efforts to murder them. Their struggle for freedom from oppression inspires these acts of resistance. Furthermore, the filmmakers explore the theological problem of understanding the Jews as God’s chosen people as they fight for their lives against Nazi policies of extermination. Full article

This article critically examines the star persona of Lola Flores, an iconic Spanish flamenco artist, within the historical and political context of Francoist Spain (1939–1975). It argues that Flores’s carefully constructed star image not only persisted into post-Franco Spain but also served as a covert vehicle for the continued propagation of National-Falangist Catholic ideology. The article primarily focuses on two major productions: the book Lola en carne viva. Memorias de Lola Flores (1990) and the television series El coraje de vivir (1994). Both portray a linear and cohesive version of her life from childhood to her later years, carefully curated to defend and rehabilitate her image. While many view Flores as a self-made artist, the article argues that her star persona was a deliberate construct—shaped by Suevia Films, a major Francoist-era film studio, and media narratives that aligned her with traditional gender roles, Catholic values, and Spanish nationalism. Despite emerging in post-Franco Spain, Flores’s narrative does not mark a rupture from the ideological frameworks of the past. Instead, it repackages Francoist values—particularly those surrounding patriarchal gender norms, suffering, and the glorification of sacrifice—to ensure her continued relevance. Suevia Films (1951) played a significant role in shaping her star persona as a symbol of Spanish folklore, aligning her with Francoist ideals of nation, Catholic morality, and submissive femininity. Her image was used to promote Spain internationally as a welcoming and culturally rich destination. Her persona fit within Franco’s broader strategy of using flamenco and folklore to attract foreign tourism while maintaining tight ideological control over entertainment. Flores’s life is framed as a rags-to-riches story, which reinforces Social Spencerist ideology (a social Darwinist perspective) that hard work and endurance lead to success, rather than acknowledging systemic oppression under Francoism. Her personal struggles—poverty, romantic disappointments, accusations of collaboration with the Franco regime, and tax evasion—are framed as necessary trials that strengthen her character. This aligns with the Catholic ideal of redemptive suffering, reinforcing her status as the mater dolorosa (Sorrowful Mother) figure. This article highlights the contradictions in Flores’s gender performance—while she embodied passion and sensuality in flamenco, her offstage identity conformed to the submissive, self-sacrificing woman idealized by the Francoist Sección Femenina (SF). Even in her personal life, Flores’s narrative aligns with Francoist values—her father’s bar, La Fe de Pedro Flores, symbolizes the fusion of religion, nationalism, and traditional masculinity. Tico Medina plays a key role by framing Lola en carne viva as an “authentic” and unfiltered account. His portrayal is highly constructed, acting as her “defense lawyer” to counter criticisms. Flores’s autobiography is monologic—it suppresses alternative perspectives, ensuring that her version of events remains dominant and unquestioned. Rather than acknowledging structural oppression, the narrative glorifies suffering as a path to resilience, aligning with both Catholic doctrine and Francoist propaganda. The article ultimately deconstructs Lola Flores’s autobiographical myth, demonstrating that her public persona—both onstage and offstage—was a strategic construction that perpetuated Francoist ideals well beyond the dictatorship. While her image has been celebrated as a symbol of Spanish cultural identity, it also functioned as a tool for maintaining patriarchal and nationalist ideologies under the guise of entertainment. Full article

In this article, I address the inadequacies in how we currently conceptualize spaces for dialogue and debate around issues involving race and religion. Even in a climate where many organizations now acknowledge equity, diversity, and inclusion requirements, there are still numerous challenges, particularly for racialized individuals, including those who may experience overlapping forms of oppression. Drawing on concepts such as intersectionality, muted group theory, and the public sphere, I suggest that many existing channels and approaches are especially inadequate for academics and activists who are racialized or belong to religions that are marginalized in Western societies, such as Islam. These avenues do not allow for an articulation of the complex, sometimes contradictory realities lived by these individuals, where choosing a seemingly progressive side consistently and publicly may mean disowning or disadvantaging one’s own family or community members. Ultimately, I argue both that we must reconsider the potential for education and dialogue enabled by seemingly one-way platforms, such as film and television, and that the platform is less important than the approach we bring to using it, since increasingly we must prioritize windows for empathy within any mediated spaces we employ for learning or dialogue. Full article

This paper analyzes Mia Couto’s short story “O dia em que explodiu Mabata-bata” [The day Mabata-bata exploded] and its adaptation by Sol de Carvalho’s film Mabata Bata. Through an analysis of both versions, this study aims to understand how Couto’s narrative was recreated and transfigured in the film adaptation. The film adaptation of the story employs a blend of images and additional text to extend the verbal dimensions of the original story, thus creating a new experience. It establishes affinities with the original story and introduces new elements that add to the narrative’s depth and complexity. The adaptation of the story in the film provides an opportunity to examine the decolonial perspective of the nation’s history, portraying the symbolic metamorphosis during the civil war (1977–1992). By analyzing both the short story and the film, this study highlights the pivotal role of literature and cinema in fostering a Mozambique “de-linking” identity through language, religion and traditions. Full article

In response to the trend of information technology development, religions in China are undergoing a process of mediatization. This study takes the popular Chinese animated films Ne Zha: Birth of the Demon Child (哪吒之魔童降世) (2019) and New Gods: Yang Jian (新神榜: 杨戬) (2022) as research cases of mediatization of religion and conducts a focused study of the respective protagonists Ne Zha (哪吒) and Yang Jian (杨戬), both prominent figures in Chinese religious and folk traditions. Through text analysis and empirical research on the two movies and their fans, this study examines how religion is being mediatized in contemporary China in the transformation to Religion 2.0 or a type of amalgamation of real- and virtual-world practices that enact a relationship with the divine, and how this shapes identity formation for fans, who are mostly young individuals in their teens and twenties. This research argues that to obtain permission for dissemination in mainstream media and thrive in the cultural context of China, religion chooses to assume the form of media products that can bypass scrutiny that forbids “supernatural phenomena” and aligns with the mainstream ideology. It has to be a “contributory religion” that contributes to the “revitalization” of national spirit and inherited Chinese culture, not a potential “superstitious” threat to the Marxist orthodoxy. In the context of official promotion of atheism and the regulation of public discourse, animated films with themes adapted from traditional mythological and religious stories, such as Ne Zha: Birth of the Demon Child and New Gods: Yang Jian, have become a major cultural form through which people in China engage with religious symbols and narratives. The enormous success of the two movies resulted in a large population of young fans. Influenced by these films, their fans have developed an egoistic religious perspective rather than assimilating the religious or cultural messages contained in the movies. These fans may experience solace and a call to faith to some extent in their consumption of the movies, but they selectively enhance religious literacy that only meets their personal needs. Interest in divine individuals far outweighs interest in or loyalty to the religious doctrine or sect itself. Pilgrimages are undertaken to fulfill personal fantasies, and the promotion of the divine is aimed at vying for influence within fan communities. The second part of this study examines the activities of the fans that I argue are characteristic of the age of Religion 2.0. Full article

On 26 May 2011, the Russian People’s World Council issued a document entitled The Basic Values: The Fundaments of National Unity. The document, prepared by the Synodal Department for Church–Society Cooperation, provided a catalogue of 17 traditional values whose general framework was constituted by a combination of freedom, unity, patriotism, family, and devotion. At that time, the Moscow Patriarchate considered religious faith to be the foundation of traditional values and it continues to do so. The defence and promotion of traditional Russian spiritual and moral values were also central in the Russian National Security Strategy (2015); this was the case in the updated version of this document as well, put out in July 2021. Furthermore, they have been the core of the Moscow Patriarchate’s participation in the Council of Europe and of Patriarch Kirill’s speeches about the war in Ukraine. Finally, on 9 November 2022, The Foundations Of State Policy For The Preservation Of Spiritual And Moral Values was approved. This framework permits us to understand the strict interplay between the Church and the State in the Russian Federation and to see why it is important to refer to the concept of post-secularism when talking about the role of religion in post-Soviet Russia. Proceeding from the Abstract, the present paper aims to analyse this interplay in a specific sector of visual culture: the cinema and television industries. Manuel Castells highlighted the relevance of cultural values in the age of information and the connection between the values and social mobilization that follows it. He pointed out that the Internet has become a way to render this connection predominant, inevitably leading to the development of social movements and networks that have a religious basis. This is unquestionably true; surveys conducted by the Russian Public Opinion Research Center (OJSC «VCIOM») and by Nevafilm Research confirm that a high percentage of Russians watch films not only at the cinema or on television (especially the older generations) but also on the Internet (as far as the younger generations are concerned). The importance of this market is also confirmed by the success of the cinema and TV distributor Orthodox Encyclopaedia (2005); in the words of the philosopher Sergei Kravets, who, commenting on it during an interview published in 2006 by the website Sedmits.ru, declared that the expression “orthodox cinema” can be understood as a way to express Russian culture. He asserts that “the fact that today Orthodox films have begun to appear on the central TV channels testifies that Russian film producers and viewers have apparently begun to be aware of themselves as Orthodox, to feel that they are bearers of a special Orthodox culture. [..]”. At the same time, consideration should be given to the importance of the Russian Orthodox Church and the Minister of Culture’s condemnation of films such as Matilda or Monastery. In addition, it is important to consider that, according to a survey conducted in 2022 by the Levada Center, Russian people consider television the most reliable source of information (54%). The long-term implications of this tendency may have very important effects, not only in terms of its objectives but also in terms of the consideration that, after the beginning of the war, many Western film distributors withdrew their licenses from Russia. This paper will analyse “the effect of religion on the institutional system, the regulatory environment of the media and the public sphere” by studying the features of films and TV programs distributed by Orthodox Encyclopaedia, their relations with traditional values promoted both by the Kremlin and the Church, how these have contributed to strengthening the interplay between the Minister of Culture and the Moscow Patriarchate, and the impact this process has had on Russian society and Russia’s relations with the European and Western World in the 2005–2022 period. A list of the films and TV programs being discussed will be provided, and then statements about the project and reviews of the serials and films will be analysed. The analysis will be conducted mainly through the official sites of the Russian Orthodox Church and the Kremlin and by browsing the Integrum database. Full article

My aim in this essay is to isolate and describe the eschatological technophobia that is expressed by many popular films in the genre of science fiction. What I have in mind by this designation is the (irrational) fear of advanced technologies with respect to the conjectured likelihood that autonomous systems and programs will inevitably deliver a negative judgment of humankind. In expressing and/or cultivating this fear, I offer, directors in the genre tend to help themselves to the language and imagery of the Biblical Day of Judgment, especially as it is prophesied and characterized in the Abrahamic religions of the global West. This fear, I maintain, is itself an expression of a deeper anxiety pertaining to the possibility (or likelihood) that the achievements of humankind matter very little, if at all, especially when evaluated on a cosmic scale. Following my critique of several films that rely, uncreatively, on the trope of eschatological technophobia, I turn to a consideration of two relatively recent films in the genre: Christopher Nolan’s Interstellar (2014) and Denis Villeneuve’s Arrival (2016). From these directors, I suggest, we receive subtler and more thoughtful treatments of the judgments of humankind that superior intelligences are likely to pronounce. What emerges in these two films is the exploratory expression of a religiosity or spirituality that I associate with an updated, epoch-appropriate version of humanism. Full article

Recent scholarship on Pier Paolo Pasolini has put into focus many of the Italian intellectual’s lesser-known works. Among these is his screenplay for an unrealized film on the topic of the apostle Paul, San Paolo. Analyses of the film address Pasolini’s portrayal of Paul as dichotomic, as a representation of both revolutionary and conformist. In examining the criticism that addresses the duality of Saint Paul’s, this representation proves essential to understanding the role Pasolini intended the apostle to play. Paul, one of the architects of the Christian religion, is in fact the katechon that he names in 2 Thessalonians. Paul as the katechon is thus the force that holds back evil and annihilation. In doing so, however, he also prevents Man’s final redemption. As such, his portrayal of Paul is blasphemy, and Pasolini sent this screenplay to Don Emilio Cordero, head of Sampaolo Films, a Catholic film company charged with making religious movies in line with Church doctrine. This depiction of Paul proves one reason the film remains unmade and not solely the astronomical costs evident from the screenplay, as has been generally accepted until now. Full article

The article is a preliminary effort to join neo-positive and historical institutional analysis from comparative politics with insights from discursive and phenomenological analysis. It highlights a message arising from a South Korean film related to moral–ethical dimensions and the implications of development policy. Taken in symbolic as well as empirical terms, the film proffers that economic development policy not attending to political institutional development—including correct institutional practices at the micro-level—is feeding Asia’s demons (e.g., asuras) rather than its forces of stability and (rational, democratic, participatory) political order. The film suggests that institutional atrophy and social decay may emerge from the breakdown of political institutions and participatory politics as a political system moves from rationalized institutions and practices into what the current work calls, “mafia politics.” Political ritual and political theatre are actively employed in the film in ritualized acts of the desecration of political order. The current work suggests that the analysis of symbolic representations relating to ritual politics and performativity (e.g., “political theatre”) located in certain art forms, such as international film, may be useful in studies of religion and politics, and in qualitative comparative political and historical institutional analysis more broadly. 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

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

This chapter seeks to answer the question as to why, even though subsistence conditions militated against continuing to eke out an existence on unproductive holdings, many inhabitants in Ireland’s western counties did just that. Particularly in the west of Ireland, Irish women and men found ways to remain on their lands and in their dwellings despite the enduring proclivity for permanent migration from Ireland during the second half of the nineteenth century and the first half of the twentieth. The answer lies in the Irish penchant to engage in a variety of vernacular religious practices reiterated via expressive cultural forms like proverbs and reinforced via plays and films. In addition, an otherworld feminine perspective permeated their consciousness. For the Irish, their implicit religion—a complex network of symbols and practices—remained intact, so much so that seasonal migration endured, and the Irish preserved their homelands. Full article

The research on the relationship between religion and the media has expanded in the past decades with many new directions, one of which is the examination of the creators of religious media content—more precisely, the exploration of their different role perceptions, commitment, motivations, and goals. Religious content creators are those media producers whose content appears on various media surfaces (printed press, radio, television, film, digital media), regardless of whether they perform their activities as employees of a media company or voluntarily. This study presents the research we conducted among Hungarian religious content creators between 2019 and 2020. The purpose of the study is to develop a well-founded role typology based on the defining features and modes of operation of different role types. Full article

This paper examines the benefits of ethnographic film for the study of religion. It argues that the exploration of gaps between colloquial descriptions of divinities and their practical manifestation in ritual is instructive of the way religious categories are conceptualized. The argument is developed through an analysis of selected scenes from the documentary AVATARA, a meditation on goddess worship (Śaktism) among the Khas ethnic majority of the Hindu Himalaya (Himachal Pradesh, India). Centering on embodiments of the goddess in spirit possession séances, it points to a fundamental difference between the popular depiction of the deity as a virgin-child (kanyā) who visits followers in their dreams and her actual manifestation as a menacing mother (mātā) during ritual activities. These ostensibly incongruent images are ultimately bridged by the anthropologically informed edition of the material caught on camera, illustrating the added advantage of documentary filmmaking for approximating religious experiences. Full article

The COVID-19 pandemic has roused the apocalyptic fear that was foreseen in religious prophecies. This research will focus on the post-9/11 and pre-COVID-19 disaster films, in an attempt to understand the representation and pre-presentation of the collective disaster psychology. Aligned with Jungian film studies, this essay regards films as a convergence of generations’ collective unconscious. Apocalypse may as well be considered the psychic archetypes that emerge in our civilization in the name of religion. This essay aims to construe the ways that apocalyptic archetypes appear and are elaborated in contemporary films, in hope of recognizing the new apocalyptic aesthetics formed in the interval between the two disastrous events. Consistent with the meaning in classic doomsday narratives, the archetypal symbols in these films are found to have carried a dual connotation of destruction and rebirth. Through empirical cinematographic style, these archetypal images are revealed in an immersive way. Disaster films from this time place emphasis on death itself, fiercely protesting against the stagnation of life, and in turn triggering a transcendental transformation of the psyche. Unlike those in the late 1990s, viewing the doomsday crisis through the lens of spectacularity, disaster in these films is seen as a state of body and mind, and death a thought-provoking life experience. Full article