"Filme sprechen fast alle unsere Sinne an. Das Zusammenspiel von Licht, Farben und Musik erreicht die Menschen unmittelbar, berührt und bewegt die Zuschauenden. Ganz wie ein gelungener Gottesdienst. Das Massenmedium Film eignet sich auf ganz besondere Weise, Menschen mit den zentralen Themen des Le
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bens und des Glaubens in Verbindung zu bringen. Auf diesem Weg dienen die Filme dazu, die biblischen Deutungsangebote lebendig werden zu lassen. Das Buch bietet rund 20 erprobte Filmgottesdienste, unter anderem: Ziemlich beste Freunde; Walk the line; Schindlers Liste; Pretty Woman; Into the Wild; Luther. Filmgottesdienste zu Kurzfilmen, Praxistipps zur Vorbereitung und Durchführung von Filmgottesdiensten, juristische Basisinformationen und Listen mit geeigneten Filmen sowie Bezugsquellen runden das Buch ab. Alle Beiträger haben langjährige Erfahrung in der Arbeit mit Filmgottesdiensten." (Verlagsbeschreibung)
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"Die 300 wichtigsten Spielfilme, Dokumentationen und TV-Movies mit spirituellem Hintergrund, ausführlich vorgestellt und besprochen mit Photos, Filmographie und Bezugsquellen-Hinweisen. Dazu Porträts der wichtigsten deutschen und internationalen Regisseure, Hintergründe der Filmentstehung und Reg
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ister der spirituellen Themen in den besprochenen Filmen." (Verlagsbeschreibung)
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"The religious dimension of Chinese cinema is, it has been observed, a "triple lacuna" in contemporary scholarship: in research on religion in China, in research on Chinese cinema, and in interdisciplinary research on film and religion. From 2002 to 2012, independent filmmaker Gan Xiao'er directed t
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hree low-budget features that portrayed rural Christianity in China, a subject almost entirely absent from both Chinese mainstream media and independent films. In this article, I analyze Gan's films by locating them in their social, political, and religious contexts, by comparing them with other Chinese films, and by linking them to the tradition of Western films that portray spirituality. I observe a progression in themes and style from Gan's first feature, The Only Sons, CN 2002, to his third, Waiting for God, CN 2012. I seek to show that Gan developed a restrained directorial style in order to connect with the spirituality of Chinese peasants. Although he had to grope in the dark on many aspects, his engagement with Christian themes has greatly expanded the narrative space of Chinese cinema. "(Abstract)
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"The narrow genre of devotional films in India follows a regular template – a combination of theophanic interventions, bhakti (devotional) worship and didactic narratives. Thiruvilayadal (The Divine Play, Akkamappettai Paramasivan Nagarajan, 1965), a film in Tamil (a language spoken across South a
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nd East Asia by a large diaspora), was long considered a devotional movie that celebrated the God Shiva. However, a close analysis shows that the movie subverts the darshan concept (viewing) in a Hindu devotional film. Though it may appear to be a film about Puranic (mythic) Hindu gods, the subtle subtext reduces heavenly entities to supplicatory positions in relation to a cornerstone of identity in the post-independence Dravidianist Tamil State – Tamil language. This understanding of Thiruvilayadal is all the more relevant in light of the increasing rigidity of Hindu religious beliefs in contemporary India." (Abstract)
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"The TV series Jiok (Yon Sang-ho, 2021-), internationally known as Hellbound, is a recent and highly successful series that has been available on the streaming platform Netflix since November 2021. It is usually described as a "dark mystery thriller" or "dark fantasy film", which points to the gener
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al tone but also to its constant interplay with the "mysterious". The plot revolves around the appearance of monstrous creatures who suddenly arrive out of nowhere and kill people in a most brutal and bloody way. All of those who are killed in this heinous manner have received a warning beforehand, delivered by "angels" foretelling their fate and their imminent death and introducing crucial topics such as "guilt and sin" as a reason for the whole procedure. The article introduces major topics of this series and focusses on the prominent role of a new religious movement that is intimately linked to major trajectories of the plot." (Abstract)
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"Superheld*innen sind in der Krise: Gut und Böse, Richtig und Falsch sind nach starken sozialen und politischen Umbrüchen längst nicht mehr klar und eindeutig. Für das Genre ein eklatantes Problem. Religion und Glaube könnten hier Orientierung bieten, verlieren aber - so der gängige Vorwurf -
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ihrerseits immer stärker an Bedeutung in einer säkularen Welt. Die Beiträger*innen des Bandes bieten einen ersten Zugang zu diesem Phänomen und kommen zu dem erstaunlichen Befund, dass religiöse Motivik dagegen ungebrochene Hochkonjunktur in der superheroischen Popkultur feiert. Figuren, Themen, Ikonographie, Symbole: Das religiöse Spielfeld des Superheroismus ist mannigfaltig." (Verlagsbeschreibung)
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"This book examines various types of interplay between film and the Bible. The theme of 'Bible on film' is explored through Hebrew Bible epics including The Prince of Egypt and Noah, and Jesus films such as The Last Temptation of Christ and Son of Man. The theme 'Bible in film' is analyzed through f
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ilms including Mary Magdalene, Magnolia, and Pulp Fiction. Films that 'Reimagine the Bible' include Ex Machina and The Tree of Life, and unusual Jesus figures in Pan's Labyrinth, Dogville, and Donnie Darko are explored. 'Film as Bible' considers films such as To The Wonder, Silence, and Parasite. A conclusion explores television shows such as Dekalog and The Handmaid's Tale." (Publisher description)
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"The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick's 2001: A Space Odyssey (1968) as the principal cas
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e-study and Gaspar Noé's Enter the Void (2009) and Lars von Trier's Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice. Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere. Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers' subjective responses in light of religious and cultural change." (Publisher description)
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"Katholische Filmarbeit dient der kirchlichen Gemeinschaft und dem Dialog zwischen Kirche und Gesellschaft. Sie ist in vielen Segmenten der Filmbranche und Kreativwirtschaft engagiert: in der Herstellung von Filmen bzw. Bewegtbildformaten und ihrer Verbreitung durch Vertrieb und Verleih, in der film
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kulturellen Bildung und der Film-Publizistik, in der Jury-Arbeit bei deutschen und internationalen Festivals. Eine wesentliche Rolle spielt der Einsatz für den Jugend-(Medien-)Schutz. Die vorliegende Arbeitshilfe versteht sich als Feldbeschreibung dessen, was katholische Filmarbeit leistet. Die Beiträge richten sich insbesondere an Fachpublikum und Multiplikatoren sowie an interessierte Laien. Das Heft stellt Reflexionen zum Zusammenhang zwischen Film und Theologie, zur pastoralen Bedeutung des Films, zur Entwicklung, Kriteriologie sowie zu digitaler Kontextualisierung katholischer Filmarbeit bereit. Die Differenzierung des Engagements katholischer Filmarbeit wird im Teil „Arbeitsbereiche“ ersichtlich, filmkulturelle Statements bilden den Abschluss." (https://www.dbk-shop.de)
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"A novela bíblica é um gênero literário por excelência para o exercício da interação entre a comunidade que produziu o texto e a comunidade que o lê e o atualiza. Com suas cores próprias, a novela bíblica é um artifício popular que cresce em importância no período posterior ao exílio
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babilônio (538-145 A.E.C.). Ela assume o papel da profecia na defesa dos direitos do povo em Israel, mantém a esperança e aponta o caminho a seguir. Numa sociedade que cada vez mais centraliza o poder e a religião, a novela bíblica se torna o respiro do clamor popular. É nessa perspectiva que este livro apresenta as novelas bíblicas de José e seus irmãos, Jó, Rute, Cântico dos Cânticos, Ester, Daniel, Judite e Jonas." (Descrição da editora de livros)
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"Der erste große Teil dieses Bandes beschreibt - angefangen bei den "Zehn Geboten" und ihrer Aktualisierung in "The Beach" über das "Opfer" Harry Potters, Blade Runners & Katniss´ in "Tribute von Panem" bis hin zu natürlichen und künstlichen Intelligenzen ("Planet der Affen" und "Ex Machina") -
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wie Religion in aktuellen Filmen thematisiert wird, die sich u. a. mit den Folgen der Digitalisierung und Mechanisierung sowie deren Auswirkungen auf das Menschenbild der Zukunft beschäftigen. Im zweiten Teil finden diese Themen praktisch-theologisch und liturgisch Gestalt, nämlich in Form von Filmgottesdiensten, die als Bausteine für Deutsch- und Religionsunterricht und für Gottesdienste in Schulen, Gemeinden und in der Erwachsenenbildung dienen können." (Verlagsbeschreibung)
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"The remarkable commercial success of Mel Gibson’s The Passion of the Christ in 2004 came as a surprise to the Hollywood establishment, particularly considering the film’s failure to find production funding through a major studio. Since then the Biblical epic, long thought dead in terms of mains
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tream marketability, has become a viable product. This collection examines the new wave of the genre, which includes such varied examples as Darren Aronofsky’s Noah (2014) and Ridley Scott’s Exodus: Gods and Kings (2014), along with the telenovelas of Latin America. Such texts follow previous traditions while appearing distinct both stylistically and thematically from the Biblical epic in its prime, making academic consideration timely and relevant. Featuring contributions from such scholars as Mikel J. Koven, Andrew B. R. Elliott and Martin Stollery, and a preface from Adele Reinhartz, the book will be of interest to students and scholars of film, television and religion." (Publisher description)
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"First, we will introduce the international Catholic communication associations OCIC and UNDA through a short history of both organisations, exploring the activities they deployed, the most important developments during their 73-year existence, and look into their relations with the Church, organise
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d laity and the broader field of local, national, international, and intergovernmental (media) organisations. In the second part of this report, we will introduce the OCIC-UNDA archives through a short history of the archives’ management and a detailed institutional history of the organisations that shaped them. Taking this into account, we will then analyse their structure, content and lacunas and evaluate their state of preservation. We will also provide an overview of the reference library’s contents with special attention to publications of OCIC, UNDA and their predecessors." (Introduction)
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"Generally, images in art forms occupy a controversial position in the Islamic world. The Sunni branch of Islam, considered more conservative and strict does not approve or condone representational art of the human form for fear that it would eventually turn into an object of worship. The Shi’ite
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branch of Islam, however, has a radically opposing perspective and consequently allows figurative representation in its art forms. The situation becomes more complicated when it comes to depicting prophets, who, starting from the Prophet Muhammad, are prohibited in Sunni Islam from being figuratively represented in any form. This article discusses the representation of spirituality in religious media in Nigeria, especially the reception of the representation of Biblical and Islamic prophets in dubbed Iranian films targeted at popular culture consumption. I situate my discussion within the matrix of social control and censorship in northern Nigerian Muslim cultures." (Abstract)
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"Ghost Movies in Southeast Asia and Beyond explores ghost movies, one of the most popular film genres in East and Southeast Asia, by focusing on movie narratives, the cultural contexts of their origins and audience reception. In the middle of the Asian crisis of the late 1990s, ghost movies became m
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ajor box office hits. The emergence of the phenomenally popular "J-Horror" genre inspired similar ghost movie productions in Korea, Thailand, Taiwan, Hong Kong, the Philippines and Singapore. Ghost movies are embedded and reflected in national as well as transnational cultures and politics, in narrative traditions, in the social worlds of the audience, and in the perceptual experience of each individual. They reflect upon the identity crises and traumas of the living as well as of the dead, and they unfold affection and attraction in the border zone between amusement and thrill, secular and religious worldviews. This makes the genre interesting not only for sociologists, anthropologists, media and film scholars, but also for scholars of religion." (Publisher description)
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"This two-part volume contains a comprehensive collection of original studies by well-known scholars focusing on the Bible’s wide-ranging reception in world cinema. It is organized into sections examining the rich cinematic afterlives of selected characters from the Hebrew Bible and New Testament;
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considering issues of biblical reception across a wide array of film genres, ranging from noir to anime; featuring directors, from Lee Chang-dong to the Coen brothers, whose body of work reveals an enduring fascination with biblical texts and motifs; and offering topical essays on cinema’s treatment of selected biblical themes (e.g., lament, apocalyptic), particular interpretive lenses (e.g., feminist interpretation, queer theory), and windows into biblical reception in a variety of world cinemas (e.g., Indian, Israeli, and Third Cinema)." (Publisher description)
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