Search Results (51)

Religious symbols and figures are gaining new life in popular culture. Reinterpretations of symbols rooted in the visual arts tradition are appearing in film, TV series and short audiovisual forms presented on the Internet, especially on social media. This also applies to angels, to which the author’s research would be devoted. This article discusses images of “secular angels”, decontextualized religious symbols, popularized throughout the 20th and 21st centuries in the visual media of Western culture. From the rich research material, the most characteristic images are selected for discussion and interpretation and subjected to interpretation in the spirit of discourse analysis. The images of modern “angels” in the texts of popular culture refer not so much to their biblical prototypes, but to the moral condition of man in consumerist, individualistic societies focused on living for pleasure. Film, TV series and Internet images of “angels” also show the controversies and social problems (such as racism) faced by contemporary Western societies. Full article

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

Against the backdrop of the dialogue between theology, cinema, and image culture more broadly, this article explores Paul Schrader’s 2017 film First Reformed as an experiment in cinematic theology. His 1972 work Transcendental Style in Film: Ozu, Bresson, Dreyer outlines the contours of a cross-cultural, cross-religious model of spiritual cinema and remains an influential text within both film studies and theology. While much of his career as both a director and screenwriter has embraced a broad spectrum of themes, from the psychological pessimism of Taxi Driver (1976) to the deep Christology of The Last Temptation of Christ (1988), First Reformed sees Schrader return to his theory of a sacred cinema through the themes of spiritual crisis, ecological indifference, and the politicization of Christianity. Through a theological and hermeneutical reflection on the film, its visual and narrative grammar, and its influences, this article explores Schrader’s cinema as model of divine intimacy that redeems in an indifferent world. Full article

This paper discusses the development of an innovative methodology for engaging young people with issues of religious diversity and toleration, through combining engagement with historical and contemporary sources with the production of short documentary films reflecting on their own experience. We report on pilot workshops held in contrasting locations—London, Belfast, Skopje (North Macedonia), Durrës (Albania), and Amman (Jordan). In some of the workshops, participants worked directly with young people from other religious traditions; in others, participants themselves were drawn from a single religious tradition, but sought actively to engage with others, for example Orthodox Christians in North Macedonia spoke to Muslims and filmed inside a mosque; Muslims in Jordan similarly visited local Christians and their churches; Catholics and Protestants in Belfast were eager to understand and interact with the other community. In the light of overwhelmingly positive feedback from participants, the analysis applies contact theory to argue that the methodology facilitates deep learning and teambuilding, enhancing respect and understanding between different religious groups. It also demonstrates the value of religious education for enhancing young people’s understanding of other subjects, notably history and citizenship. 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

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

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

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

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

Andrej Tarkovsky is a Russian film author who has indebted the entire world’s cinematography with his cinematic style. His (auto)biography and filmography give us a hint that he was a deeply religious man who believed that art should serve to deepen man’s spirituality. By watching and analyzing the author’s films, we came to the hypothesis that Tarkovsky uses the characters of children to express something supernatural, and therefore, we wanted to explore which narratives and stylistic devices the director uses to give his interpretation of the spiritual and transcendent. Thus, we analyzed nine characters of children that appear in the director’s six full-length feature films: Ivan Bondarev (Ivan’s Childhood), Boriska (Andrei Rublev), Aleksej, Ignat and Asafjev (Mirror), Marta (Stalker), Domenico’s son and Angela (Nostalghia), and Gossen (The Sacrifice). The methods we have used are qualitative content analysis, description, comparison, and synthesis. The characteristics we have noticed in the characters of the children, which could point to the transcendent, are a deep and penetrating gaze, the supernatural powers children use, the mysterious environments they inhabit, the deep influence they have on other characters, asking religious questions, hermit-like loneliness, modest clothes, and allusions to a Christ-like figure. Full article

Films serve to (re-)create a ‘world’ within the mind of the audience. Additionally, they introduce or reinforce stereotypes portrayed as a reality of the modern world through multiplexity and the strategic use of foreign languages, dialects, and non-native language use, among others. Various concepts of stereotypes can be explored in fiction feature films, especially as film characters are often based on different kinds of stereotypes. Audiovisual texts tend to operate as cultural constructs that reflect and convey certain ideologies within an industry that holds the power to marginalize or belittle voices. Multilingual films highlight the contrasts among and within cultures; hence, they can further exacerbate the marginalization and stereotyping of different cultures and nations, ultimately having damaging effects on society’s perception of different stereotypes, such as race and gender groups, which is shown with the examples from a multilingual film. This article analyzes the marginalization and stereotypes in a Hollywoodian multilingual film through film analysis and critical theory. By doing so, this study aims to provide insight into the stereotypes that have been depicted, covering various clichés and stereotypes, including cultural, gender, political, and religious stereotypes. Furthermore, it seeks to dissect the societal consequences that arise from detrimental portrayals of stereotyping in a purposeful selection of an American multilingual film. Full article

Examining the filmmaker Satyajit Ray’s engagements with religious questions with reference to his films Devi (The Goddess), Mahapurush (The Holy Man), Ashani Sanket (Distant Thunder), Sadgati (Deliverance) and Ganashatru (A Public Enemy), this essay assesses the influence of Ray’s Brahmo inheritance, his personal atheism/agnosticism and his cultural fascination with Hinduism in his representations of women’s status and caste discrimination. It concludes that although Ray’s approach to Hinduism was far from one-dimensional or sectarian, its negative social consequences were emphasized more in his work than any positive role it might play in society and culture. Full article

This article discusses how orientalism has operated and continues to operate within the North American artistic landscape of dance artists. The author starts by focusing on Uday Shankar (1900–1977), one of the major, though often overlooked, figures over the last 100 years of South Asian (and predominantly Indian) dance performance on the concert stage in the diasporic context, to consider how orientalism, the desire for authenticity, a nationalist agenda, religious fundamentalism, economic necessities, multi-cultural initiatives, and diversity desires all interact and coalesce to form an undercurrent of limited potentials about how and why South Asian dance can exist within the American performance discourse. In an auto-ethnographic move, the author then juxtaposes Shankar’s historical legacy with a new artistic project by the author (b. 1969), entitled Reorient the Orient, premiering in 2024. The writing uses archival sources such as photographs, programs, publicity materials, featured essays, newspaper previews, reviews, filmed dance footage, choreographic analysis, and personal reflections to explore how social factors and personal ambitions create awkward relationships within orientalism’s manifestations in the diasporic U.S. performance landscape. Full article