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The Spiritual Practice of Watching MoviesWhat's your favorite Christmas movie? Easter movie? Pentecost movie? Casual viewers and movie buffs alike have favorite movies to watch at certain times of the year. But for film critic Abby Olcese, movies with spiritual themes aren't just limited to the holiday season. They're part of a deep human need to connect our favorite stories to the natural rhythms of our lives, and to let them shape and give meaning to our experience of the seasons all year long.The life of the church is also defined by stories, which we revisit through the pattern of the Christian year. In Films for All Seasons, Olcese invites us to reflect on the great themes of the church calendar through the lens of film. From superhero movies and Star Wars to classics and arthouse films, she chooses movies for each liturgical season and leads us through them with skill and infectious enthusiasm, exploring how each one can inform and deepen our appreciation of its corresponding season.Films for All Seasons is more than just a book about movies—it's a model for how we engage with art as Christians.Includes:Explorations of popular, classic, and arthouse films and how they relate to liturgical seasonsReflections on the great themes of the church calendarDiscussion questions after each movie designed to facilitate discussion with small groups and friends

This book examines the connections between film and Christianity, considering how films express and depict Christian faith and spirituality and provide experiences associated with it. The notion of movement as immobility (from Simone Weil) is employed to describe film and its images in motion. Its movements can reconnect us with the movements of the world, those motions in which a mysterious sense of order, what Weil calls'immobility,'arises. Film is understood as a privileged form to access inscrutable spiritual (in)visibilities that can be linked with Christian concepts and practices. The chapters in Exploring Film and Christianity offer new studies of famous directors such as Andrei Tarkovsky and Robert Bresson combined with analyses of recent notable films, including Terrence Malick's Knight of Cups, Martin Scorsese's Silence, and Denis Villeneuve's Blade Runner 2049. Organized around the productive topics of theory, expression, depiction and experience, this volume is a valuable contribution to interdisciplinary research on film and Christianity.

Christians love superhero movies, just like everybody else. But should they? How do the themes in the world's most popular movies relate to Christ's teachings? How do believers reconcile superhero violence with Jesus's message of peace? How does the Sermon on the Mount relate to superhero power fantasies? The Superpowers and the Glory helps readers answer those questions by teaching them how to identify the themes in superhero movies and examine them through Christian theology. With deep dives into nearly every superhero movie ever released, the book trains readers in understanding the worldviews behind movies such as Iron Man, Spider-Man, and Wonder Woman. Each chapter includes discussion questions, perfect for small groups, Sunday school classes, or personal inquiry. From Marvel hits like Black Panther and The Avengers to DC blockbusters Batman and Justice League to indie characters Hellboy and Teenage Mutant Ninja Turtles, The Superpowers and the Glory is an easy-to-read guide to using superhero movies to strengthen your relationship with Christ.

Scholars of religion have begun to explore horror and the monstrous, not only within the confines of the biblical text or the traditions of religion, but also as they proliferate into popular culture. This exploration emerges from what has long been present in horror: an engagement with the same questions that animate religious thought – questions about the nature of the divine, humanity's place in the universe, the distribution of justice, and what it means to live a good life, among many others. Such exploration often involves a theological conversation. Theology and Horror: Explorations of the Dark Religious Imagination pursues questions regarding non-physical realities, spaces where both divinity and horror dwell. Through an exploration of theology and horror, the contributors explore how questions of spirituality, divinity, and religious structures are raised, complicated, and even sometimes answered (at least partially) by works of horror.

We live in a secular world and cinema is part of that secular edifice. There is no expectation, in modern times, that filmmakers should be believers – any more than we would expect that to be the case of novelists, poets and painters. Yet for all that this is true, many of the greatest directors of classic European cinema (the period from the end of World War II to roughly the middle of the 1980s) were passionately interested not only in the spiritual life but in the complexities of religion itself. In his new book Mark Le Fanu examines religion, and specifically Christianity, not as the repository of theological dogma but rather as an energizing cultural force – an'inflexion'– that has shaped the narrative of many of the most striking films of the twentieth century. Discussing the work of such cineastes as Eisenstein and Tarkovsky from Russia; Wajda, Zanussi and Kieslowski from Poland; France's Rohmer and Bresson; Pasolini, Fellini and Rossellini from Italy; the Spanish masterpieces of Buñuel, and Bergman and Dreyer from Scandinavia, this book makes a singular contribution to both film and religious studies.

••• Winner of the2019 Flaiano Prize in the category Italian Studies •••In Fellini's Eternal Rome, Alessandro Carrera explores the co-existence and conflict of paganism and Christianity in the works of Federico Fellini. By combining source analysis, cultural history and jargon-free psychoanalytic film theory, Carrera introduces the reader to a new appreciation of Fellini's work. Life-affirming Franciscanism and repressive Counter-Reformation dogmatism live side by side in Fellini's films, although he clearly tends toward the former and resents the latter. The fascination with pre-Christian Rome shines through La Dolce Vita and finds its culmination in Fellini-Satyricon, the most audacious attempt to imagine what the West would be if Christianity had never replaced classical Rome. Minimal clues point toward a careful, extremely subtle use of classical texts and motifs. Fellini's interest in the classics culminates in Olympus, a treatment of Hesiod's Theogony for a never-realized TV miniseries on Greek mythology, here introduced for the first time to an English-speaking readership. Fellini's recurrent dream of the Mediterranean Goddess is shaped by the phantasmatic projection of paganism that Christianity created as its convenient Other. His characters long for a “maternal space” where they will be protected from mortality and left free to roam. Yet Fellini shows how such maternal space constantly fails, not because the Church has erased it, but because the utopia of unlimited enjoyment is a self-defeating fantasy.

'Movies are our way of telling God what we think about this world and our place in it.... Movies can be many things: escapist experiences, historical artifacts, business ventures, and artistic expressions, to name a few. I'd like to suggest that they can also be prayers.'Movies do more than tell a good story. They are expressions of raw emotion, naked vulnerability, and unbridled rage. They often function in the same way as prayers, communicating our deepest longings and joys to a God who hears each and every one.In this captivating book, Filmspotting co-host Josh Larsen brings a critic's unique perspective to how movies function as expressions to God of lament, praise, joy, confession, and more. His clear expertise and passion for the art of film, along with his thoughtful reflections on the nature of prayer, will bring you a better understanding of both.God's omnipresence means that you can find him whether you're sitting on your sofa at home or in the seats at the theater. You can talk to him wherever movies are shown. And when words fail, the perfect film might be just what you need to jump-start your conversations with the Almighty.

First published in 1880, Ben-Hur: A Tale of the Christ became a best-seller. The popular novel spawned an 1899 stage adaptation, reaching audiences of over 10 million, and two highly successful film adaptations. For over a century, it has become a ubiquitous pop cultural presence, representing a deeply powerful story and monumental experience for some and a defining work of bad taste and false piety for others. The first and only collection of essays on this pivotal cultural icon, Bigger Than'Ben-Hur'addresses Lew Wallace's beloved classic to explore its polarizing effect and to expand the contexts within which it can be studied. In the essays gathered here, scholars approach Ben-Hur from multiple directions—religious and secular, literary, theatrical, and cinematic—to understand not just one story in varied formats but also what they term the'Ben-Hur tradition.'Drawing from a wide range of disciplines, contributions include the rise of the Protestant novel in the United States; relationships between and among religion, spectacle, and consumerism; the'New Woman'in early Hollywood; and a'wish list'for future adaptations, among others. Together, these essays explore how this remarkably fluid story of faith, love, and revenge has remained relevant to audiences across the globe for over 130 years.

Ben-Hur was the first literary blockbuster to generate multiple and hugely profitable adaptations, highlighted by the 1959 film that won a record-setting 11 Oscars. General Lew Wallace's book was spun off into dozens of popular publications and media productions, becoming a veritable commercial brand name that earned tens of millions of dollars. Ben-Hur: The Original Blockbuster surveys the Ben-Hur phenomenon's unprecedented range and extraordinary endurance: various editions, spin-off publications, stage productions, movies, comic books, radio plays, and retail products were successfully marketed and sold from the 1880s and throughout the twentieth century. Today Ben-Hur Live is touring Europe and Asia, with a third MGM film in production in Italy. Jon Solomon's new book offers an exciting and detailed study of the Ben-Hur brand, tracking its spectacular journey from Wallace's original novel through to twenty-first century adaptations, and encompassing a wealth of previously unexplored material along the way

Tyler Perry has made over half a billion dollars through the development of storylines about black women, black communities and black religion. Yet, a text that responds to his efforts from the perspective of these groups does not exist.

Christian filmmaking, done outside of the corporate Hollywood industry and produced for Christian churches, affected a significant audience of church people. Protestant denominations and individuals believed that they could preach and teach more effectively through the mass medium of film. Although suspicion toward the film industry marked many conservatives during the early 1930s, many Christian leaders came to believe in the power of technology to convert or to morally instruct people. Thus the growth of a Christian film industry was an extension of the Protestant tradition of preaching, with the films becoming celluloid sermons. Celluloid Sermons is the first historical study of this phenomenon. Terry Lindvall and Andrew Quicke highlight key characters, studios, and influential films of the movement from 1930 to 1986—such as the Billy Graham Association, with its major WorldWide Pictures productions of films like The Hiding Place, Ken Curtis'Gateway Films, the apocalyptic “end-time” films by Mark IV (e.g. Thief in the Night), and the instructional video-films of Dobson's Focus on the Family--assessing the extent to which the church's commitment to filmmaking accelerated its missions and demonstrating that its filmic endeavors had the unintended consequence of contributing to the secularization of liberal denominations.

This book offers a history of films with Biblical, spiritual, and supernatural themes.This volume follows the evolution of one of the Hollywood's longest running thematic concerns. From the silent era to the present, Sacred Profanity: Spirituality at the Movies examines the rich diversity of films with spiritual themes—films that reflect our own fascination with the divine and supernatural, while evoking the specific times in which they were created.From Birth of a Nation to Angels and Demons, Sacred Profanity discusses over 180 films with an insightful, movie lover's approach. Coverage encompasses Biblical stories like King of Kings; films about spiritual characters, such as The Nun's Story; foreign masterpieces like The Seventh Seal; movies that incorporate spiritual symbolism, such as Taxi Driver and Cool Hand Luke; horrifying visions of the Satanic like The Exorcist, and controversial works like The Last Temptation of Christ. The book also looks at the history of Hollywood's attempt to maintain moral order through censorship, as well as the growing influence of filmmakers'own spiritual beliefs on the movies we see.

Filme nehmen mit auf die Reise in andere Länder, andere Zeiten, andere Milieus, andere Lebenssituationen. Zudem können sie Geschichten erzählen. Indem der Zuschauer sich in diese Geschichten hinein nehmen lässt, findet er Anregung genug, über seine Existenz und das menschliche Miteinander, über die Chancen und Herausforderungen der Gegenwart, sowie über den Sinn seines Lebens nachzudenken. Nichts Menschliches und auch nichts Weltliches ist diesem Medium fremd. Gerade deswegen taugt es dazu, der Predigerin und dem Prediger zu Hilfe zu kommen. Entweder vermag ein Film das Beispiel zu geben, das die Erfahrung darstellt und präzisiert. Oder ein biblischer Bezug der Predigt wird Gründe dafür geben, sich konstruktiv und kritisch auf einen Film zu beziehen oder dessen Botschaft in den Blickwinkel des Evangeliums zu stellen.Indem Fragen des menschlichen Lebens, dargestellt in Filmen, ins Licht der evangelischen Botschaft gerückt werden, kann einerseits die religiöse Rede in Orientierung am Schriftwort Prägnanz, andererseits der Film in dieser Perspektive eine spezifische Deutung gewinnen. Lieder und Gebete betten die Predigten jeweils in den Gesamt-Zusammenhang des Gottesdienstes ein. Ein abschließender Essay entwickelt Grundzüge zu einer Theorie dieser Predigtform.

Christians in the Movies traces the arc of the portrayal in film of Christians from 1905 to the present. For most of the first six decades, the portrayals were favorable and even reverential. By contrast, from 1970 on, Christians have often been treated with hostility and often outright ridicule. This book explores this shift through in-depth reviews and commentaries on 100 important films, as well as briefer discussions of about 75 additional Christian-themed films. Peter E. Dans examines various causative factors for this change such as the abolition of the Hays Motion Picture Production Code, the demise of the Catholic Legion of Decency, and the associated profound societal and cultural changes. From a look at the real story behind the Scopes trial to portraits of actors, directors and writers most prominently associated with films involving Christians and Christianity, Christians in the Movies provides a great resource for those who wish to select films for showing at churches, universities or for personal viewing and critical examination of the recent cultural movements and thought.