"In December 2000 the government of Kano State in Muslim northern Nigeria reintroduced shari’a and established a new board for film and video censorship charged with the responsibility to “sanitize” the video industry and enforce the compliance of video films with moral standards of Islam. Sta
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keholders of the industry took up the challenge and responded by inserting religious issues into their narratives, and by adding a new feature genre focusing on conversion to Islam. This genre is characterized by violent Muslim/pagan encounters, usually set in a mythical past, culminating in the conversion of the pagans. This article will first outline northern Nigerian video culture and then go on to explore local debates about the religious legitimacy of film and video and their influence upon recent developments within the video industry. By taking a closer look at video films propagating Islam it will focus on three points: first, videomakers’ negotiation between the opposing notions of religious education and secular escapism; second, inter-textual relations with other (film)cultures; and third, political subtexts to the narratives, which relate such figures as Muslim martyrs and pagan vampires to the current project of cultural and religious revitalization." (Abstract)
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"Since the earliest days of the movies more than a century ago, moviemakers have been intrigued by "the greatest story ever told." They have tried, with varying degrees of success, to capture the life of Jesus on film. In Jesus at the Movies Barnes Tatum has created a fascinating and exhaustively-re
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searched viewer's guide to the movies about Jesus. Tatum guides the reader film-by-film from Sidney Olcott's silent classic "From the Manger to the Cross" through Denis Arcand's award-winning "Jesus of Montreal" to the future of Jesus movies. With his experience as author, biblical scholar, and teacher on religion and film, he presents this unique look at Jesus films in all dimensions: as cinematic art, as literature, as biblical history and as theology." (Publisher description)
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"Die anhaltende Kontroverse um Mel Gibsons Jesusfilm bewegt sich vor allem um drei Problemfelder: die Gewaltdarstellung, die Zeichnung der jüdischen Gegner Jesu und die Theologie des Films, insbesondere das in ihm vertretene Konzept von Opfer und Sühne. Immer wieder begegnen Fragen wie: Liegt die
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explizite Darstellung von brutalster Gewalt nicht auf der Linie alter und neuer Passionsdarstellungen in der bildenden Kunst? Steht der Film nicht in einer ehrwürdigen Tradition der Passionsfrömmigkeit - von der mittelalterlichen Kreuzesmystik bis zu Clemens Brentanos "Das Bittere Leiden unseres Herrn Jesus Christus" nach den Visionen Anna Katharina Emmericks, jenem Buch, das den Regisseur erklärtermaßen entscheidend inspiriert hat? Fällt der dem Film verschiedentlich vorgeworfene Antijudaismus nicht auf die Evangelien als seine Vorlagen zurück? Feiern wir nicht in der Eucharistie eben jenes Opfer, das der Film zwar drastisch, aber grundsätzlich doch in der richtigen Perspektive anvisiert? Ist es nicht der grausame Tod am Kreuz, der uns erlöst hat? In vielerlei Hinsicht sind Theologie und Kunstgeschichte durch den neuen Passionsfilm angefragt. Bei einem Symposiums an der Katholisch-Theologischen Fakultät Münster, zu dem die Forschungsgruppe "Kulturgeschichte und Theologie des Bildes" eingeladen hatte, nahmen ausgewiesene Fachvertreter aus der Perspektive ihrer Disziplin Stellung. Der Band enthält Beiträge von Martin Ebner, Andreas Gormans, Reinhard Hoeps, Otto Huber, Thomas Lentes, Thomas Schärtl, Martin Stuflesser, Jürgen Werbick und Reinhold Zwick." (Klappentext)
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"Die Autorin untersucht aktuelle Blockbuster-Filme, um zu allgemeingültigen Erfolgskriterien für Popularfilme zu gelangen. Dabei wird aufgezeigt, daß Blockbuster unsere Sehnsüchte, Wünsche und Ängste unter Zuhilfenahme mythisch-symbolischer Gestaltungselemente beantworten. Zudem fungieren die
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erfolgreichsten Filme als Substitut, indem sie unauffällig und sehr geschickt Funktionen traditioneller Religionen übernehmen. Sie etablieren ein eigenes Glaubenssystem und weisen in der Inszenierung religiöser Symbolwelten eine Kompetenz auf, die an den angestammten Orten der Religions-Inszenierung oft fehlt." (Verlagsbeschreibung)
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"The Hidden God, which accompanies a film series of the same name organized by The Museum of Modern Art and screening in October and November of 2003, explores the ways in which a sense of God may appear in films, whether or not it is understood as such or is visible to the eye. This book contains o
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ver 50 essays by a wide range of writers, who find God encoded not only in explicitly religious subjects but in westerns, horror movies, comedies and many other genres, and in films from all over the world. In the times, places and societies these filmmakers explore, God may be lost, found, absent entirely or seen by only a few, whether saint or sinner." (Publisher description)
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"This second volume of Lights, Camera ... Faith! provides new thought-provoking passages into the world of the Gospels through popular film. By exploring 74 movies in the light of the Sunday Scriptures, Malone and Pacatte create a dialogue between Scripture and film, engaging faith through culture a
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nd culture through faith. Insight, inspiration, and information meet in this valuable resource for anyone who appreciates deeper meaning in movies. Ideal for homilists, parish discussion groups, young adult groups, film educators, and professionals." (Publisher description)
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"As a result of the liberalisation and commercialisation of the media in the wake of Ghana's return to a democratic constitution in 1992, there has emerged a new public sphere which has been successfully and effectively colonised by Pentecostal-charismatic churches and led to the rise of a Pentecost
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alite public culture geared towards Christian entertainment. This paper focuses on the popular video-film industry, which stays close to audience expectations and deliberately appropriates Pentecostal styles of representation. Examining the entanglement of cinema and church, video-filmmakers and pastors, I argue that the marked presence of Pentecostal styles of representation in the public sphere contributes to the spread of a social imaginary geared towards the recuperation of the project of modernity under the new condition of an open public sphere, characterised by the retreat of the state and the overwhelming presence of market forces." (Abstract)
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