Iliff School of Theology | Instructor: Jeffrey Mahan |
Winter, 2015 | jmahan@iliff.edu , 303/765-3183 |
Thurs, 6:00 – 9:30PM | Iliff Hall - 201 |
“
What, therefore, might be the ‘religious’ dimensions of such a film consists
not in doctrinal resonances but in how the film itself, both in its narrative and
in its cinematic techniques, accommodates to the deep incomprehensibility
of events and, beyond that, adumbrates the mysteriousness of the world itself.”
William R. LaFleur
“
God is Box Office
”
C.B. DeMille
“
Religion and art are parallel lines which intersect only at infinity, and meet in God.”
Gerardus van der Leeuw
“
Pentecostal beliefs and technology act so much in support of each other
that they become more or less indistinguishable. This being so,
it is impossible to maintain a stable distinction between film and religion
.”
Birgit Myer
In this course, students explore the interactions of religion and film. Learning goals include demonstrating:
All Students:
Films:
You will need to have access to the assigned films outside of class. They are available from a variety of sources, some you may even find on YouTube. All of the films assigned for pre-class viewing, which will be our primary texts for discussion and analysis, are available through Netflix. For most students this is the easiest way to have reliable access to the films. Many of these films are not available through Netflix for live streaming, so you will need to have a plan that allows for mail delivery of a DVD. Even if you have seen a film in the past, please view each film in the week or two before the class discussion so that your impressions are fresh. In some cases there are several films available with similar titles so pay attention to the directors and dates to be sure you come to class ready to discuss the appropriate film.
There will sometimes be an additional recommended viewing. This is a film we will probably look at a clip from and discuss briefly in class. Your experience will be enhanced if you have time to pre-view this film as well.
You will also find lists of Other examples. Think of these like lists of further reading. It is not expected that you will be able to see them all at this time, but they will give you a place to turn if/when you want to explore further.
Books:
Jolyon Mitchell and S. Brent Plate, The Religion and Film Reader (RFR) (2007) New York: Routledge. Key historical and contemporary essays on the relationship between religion and film from diverse cultures and religions. Includes writings by film critics and theorists, religious leaders and religious and theological studies scholars.
Johnston, Robert K., Reel Spirituality: Theology and Film in Dialogue, (2000) Grand Rapids: Baker Books. Provides an introduction to film criticism, overview of the interaction of church and cinema, and clearly lays out ways of relating film and theology. Rooted in a Christian world view the author also suggests ways in which the divine might be present in films that are not overtly Christian or clearly religious.
Doctoral Students (In addition to the books above):
Lyden, John C., Film as Religion: Myths, Morals and Rituals, (2003) NY: New York University Press. Builds a Geertzian definition of religion rooted in understandings of myth and ritual, and argues that film should be understood as a form of religion (not simply as another form of social discourse in dialogue with religion) and suggests that understandings of interreligious dialogue provide a model for the discussion of the interaction of film and more traditional forms of religion. Part Two applies the method developed to a series of popular genres. No attention is given to films overtly about religion.
Martin, Joel W. and Conrad E. Ostwalt Jr. Screening the Sacred: Religion, Myth and Ideology in Popular American Film, Boulder: Westview Press, 1995. Draws distinctions between theological criticism rooted in Christian assumptions, mythic criticism rooted in cross cultural archetypal studies, and ideological criticism which explores how myths affect society – with particularly attention to race, class and gender.
Outline of Reading and Viewing Assignments by Date Due
Jan 8: Intro to Film and Religion
Viewing: The Diary of a Country Priest, dir. Robert Bresson, (1951) France (110 min)
Reading: Reel Spirituality: “The Power of Film,” pgs 19-30.
Religion and Film Reader (RFR), Intro Part 1, pgs 9-14.
Wright, “Religion and Film.” pgs 438-444.
Bazin, “Le Journal D’un Cure de Campagne and the Stylistics of Robert Bresson” (1951), pgs 57-59.
Jan 15: Religious possibilities and anxieties about the Movies
Viewing: La Genese [Genesis], dir. Cheick Sissoko, 1999, Mali (102 min)
Reading: Reel Spirituality: Chap 4, “Why Look at Film?” pgs 63-86.
RFR, Jump, “Religious Possibilities of the Motion Picture” (1910) pgs 14 – 24.
Grant, “If Christ Went to the Movies,” (1920), pgs 27-31.
Burnett, and Martell, “The Devil Cinema,” (1920) pgs 32- 34.
Sembene, “The Power of Female Solidarity,” pgs 117-120.
Sissoko, “I Make Films about the Big Problems of our Continent,” pgs 121-125.
Jan 22: Displacements of Jesus and Christ Figures
(Please Note: We will not meet on campus this week.
Class will happen on Canvas.)
Viewing: Jesus of Montreal, dir. Denis Arcand, 1989, Canada (115 min)
Reading: RFR, Pople Pius XI, “Vigilanti CUra” (1936), pgs 35 – 42.
Bird, “Religion in Film: Film as Hierophany,” pgs 391-397.
Mahan, “Celluloid Savior: Jesus in the Movies,” posted on Canvas.
Jan 29: Religion, Film and the Construction of Race
Viewing: Hallelujah!, dir. King Vidor, (1929) USA (90 min)
Reading: RFR, Weisenfeld, “Projecting Blackness” pg 285-293
Dash with hooks, “Dialogue Between bell hooks and Julie Dash,” pgs 251-256
Lee W. Breskin, “Inner View: Filmmakers in Conversation,” pgs 257-260
Reel Spirituality, “Are Movies Art?” pgs 87-99.
“Becoming a Film Critic.” Pgs 125-150.
Feb 5: Religion in the Art House Film
Viewing: The Decalogue 8: “Thou Shalt Not Bear False Witness” dir. Krysztof Kieslowski, 1989, Poland (55 min)
Reading: RFR, Kieslowski, “Introduction to Decalogue: The Ten Commandments.” pgs 219-224.
Martin, “Religion, Myth, and Ideology in Popular American Film.” Pgs 421-427.
Reel Spirituality, “Theological Approaches to Film Criticism.” Pgs 41-63.
Doctoral Students: Martin and Ostwalt, eds, Screening the Sacred.
Feb12: Theological Approaches
Viewing: Babette’s Feast,dir. Gabriel Axel, 1988, Denmark (102 min)
Reading: Real Spirituality, “Responding to Movies Theologically,” pgs 151-172.
Feb 19: Buddhist Film
Viewing: Why has Bodhi-Dharma Left for the East?, dir. Bae Yong-kyun, 1989, Korea. (225 min)
Reading: RFR, P. Schrader, “Transcendental Style,” pgs 176-182[1]
Cho, Francisca, “Imagining Nothing and Imaging Otherness in Buddhist Films.” pgs 398-406.
Phalke, D. G., “The Problem of Capital Formation in the Indian Cinema” (1917) pgs 25 - 26.
LaFleur, William R., “Suicide Off the Edge of Explicability: Awe in Ozu and Kore’eda”, pgs 153-163.
Feb 26: Muslim Film
Viewing: Children of Heaven, dir. Majid Majidi, 1997, Iran (86 Min)
Reading: RFR, Kiarostami, “In Dialogue with Kiarostami” pg 88-91.
“Majid Majidi and the New Iranian Cinema,” Journal of Religion and Film, Vol 12, No. 1, April 2008
March 5: Constructing Religious Worlds
ViewingNew Muslim Cool [documentary], Jennifer Maytorena Taylor, 2009, USA
Reading: RFR, Meyer, from Religious Mediations: “Pentecostal Views in Ghanaian video-Movies” pgs 95-102
March 12: Fandom as Religion/Course Wrap-up
Pre-class Viewing: The Big Lebowski, dir Joel and Ethan Coen, (1998) USA (118 min)
Reading: RFR, Lydon “Film as Religion” pg 416 – 420.
Epstein, “On Certain Characteristics of Photogenie” (1924), pgs 49-53.
Dorsky, “Devotional Cinema.” pgs 407-416.
Being consistently present for class is a baseline expectation. Appropriate participation demonstrates your preparation and engagement with reading, class presentations and discussion. Further, participation that is respectful of others is expected. While disagreeing or challenging, we honor the other and do so in ways that contributes to rather than disrupts the learning process. Final grades may be adjusted in light of attendance and participation.
Students who believe their situation justifies it may apply for an incomplete following the process outlined in the Masters Student Handbook.
(from the Iliff Master’s Student Handbook) Academic integrity lies at the foundation of academic progress. Academic dishonesty includes, but is not limited to, acts of fraud and deception on an examination or class assignment, acts of forgery or unauthorized alteration of any official academic record or document and attempt to gain credit for work that one has plagiarized from the work of another person. Academic dishonesty will not be tolerated in this course or any other at Iliff School of Theology and there are serious consequences to students who engage in it. For more information on these and other rules regarding academic progress at Iliff click on the following link on the World Wide Web or internet: http://online.iliff.edu/file.php/1/Handbooks/MSH_06-07_Academic_Policies.pdf
Iliff engages in a collaborative effort with students with disabilities to reasonably accommodate student needs. Students are encouraged to contact their assigned advisor to initiate the process of requesting accommodations. The advising center can be contacted at advising@iliff.edu or by phone at 303.765.1146.
Bibliographic Suggestions
Aichele, George and Richard Walsh, eds., Screening Scripture: Intertextual Connections Between Scripture and Film. Trinity Press, 2002.
Anker, Roy M., Catching Light: Looking for God in the Movies. Grand Rapids: Eerdmans. 2004
Bandy, Mary Lea and Antonio Monda, eds. The Hidden God: Film and Faith. New York: The Museum of Modern Art, 2003.
Baugh, Lloyd, Imagining the Divine: Jesus and Christ-Figures in Film. Kansas City: Sheed and Ward, 1997.
Cunneen, Joseph, Robert Bresson: A Spiritual Style in Film. London & New York: Continuum, 2003.
Deacy, Christopher, Screen Christologies: Redemption and the Medium of Film. Cadifr: University of Wales Press, 2001.
“ “ , Screening the Afterlife: Theology, Eschatology, and Film, London: Routledge, 2011.
Evans, Christopher Hodge and William R. Herzog, The Faith of 50 Million: Baseball, Religion and American Culture. Presbyterian Publishing Corp, 2002.
Flesher, Paul V.M. and Robert Torrey, Film and Religion: An Introduction, Nashville: Abingdon, 2007.
Forshey, Gerald, American Religious and Biblical Spectaculars, Westport: Praeger, 1992.
Grace, Pamela, The Religious Film, Oxford: Wiley-Blackwell, 2009.
Graham, Elaine L., Representations of the Post/Human: Monsters, Aliens and Others in Popular Culture. Manchester: Manchester University Press, 2002.
Jewett, Robert, Saint Paul at the Movies. Louisville: Westminister/John Known Press, 1993.
Johnson, Robert K., Reel Spirituality: Theology and Film in Dialogue. Grand Rapids: Baker Academic, 2000.
Johnson, Robert K. Reframing Theology and Film: New Focus for an Emerging Discipline. Grand Rapids: Baker Academic, 2007.
Lyden, John C. Film as Religion. New York and London: New York University Press, 2003.
“ “ , ed., The Routledge Companion to Religion and Film, London, Routledge 2011.
Martin, Joel W. and Conrad El Ostwalt Jr. Screening the Sacred: Religion, Myth and Ideology in Popular American Film, Boulder: Westview Press, 1995.
May, John R., Image and Likeness: Religious Visions in American Film Classics, New York: Paulist Press, 1991.
May, John R. and Michael Bird, eds., Religion in Film, Knoxville: The University of Tennessee Press, 1982.
Miles, Margaret R., Seeing and Believing: Religion and Values in the Movies. Boston: Beacon Press, 1996.
Mitchell, Jolyon, Media Violence and Christian Ethics, Cambridge: Cambridge University Press, 2007.
Jolyon Mitchell and S. Brent Plate, The Religion and Film Reader, London: Routledge, 2007,
Morgan, David. The Lure of Images: A History of Religion and Visual Media in the United States. London: Routledge, 2007.
Plate, S. Brent, ed., Representing Religion in World Cinema: Filmmaking, Mythmaking, Culture Making, New York: Palgrave Macmillan, 2003.
Pungente, John J. and Monty Williams. Finding God in the Dark: Taking the Spiritual exercises of St. Ignatius to the Movies, Boston, Pauline Books & Media, 2004.
Runions, Eric, How Hysterical: Identification and Resistance in the Bible and Film, New York: Palgrave Macmillan, 2003.
Scott, Bernard Brandon, Hollywood Dreams & Biblical Stories. Minneapolis: Fortress, 1994.
Stern, Richard C., Clayton N. Jeffords and Ruerric Demona, O.S.B., Savior on the Silver Screen. New York: Paulist Press, 1999.
Walsh, Richard, Finding St Paul in Film, Toronto: University of Toronto Press, 2005.
Watkins, Gregory J, Teaching Religion and Film, New York: Oxford University Press, 2008.
Weisenfeld, Judith, Hollywood Be Thy Name: African American Film, 1929-1949, Berkeley: University of California Press, 2007.
Wright, Melanie J., Religion and Film, London: I.B. Tauris, 2007.
Web Resources:
Bible Films. Bible Films Blog: http://biblefilms.blogspot.com/
Journal of Religion and Film, http://avalon.unomaha.edu/jrf/
Journal of Religion and Popular Culture, http”//www.usask.ca/relst/jrpc/index.html
Date | Day | Details | |
Jan 09, 2015 | Fri | Intro to Film and Religion | due by 01:00AM |
Jan 16, 2015 | Fri | Religious possibilities and anxieties about the Movies. | due by 01:00AM |
Jan 23, 2015 | Fri | The Church Responds to Film: Censorship, ratings, appropriation and dialogue | due by 06:59AM |
Jan 23, 2015 | Fri | Jesus of Montreal, dir. Denis Arcand, Canada (118 min) | due by 06:59AM |
Jan 23, 2015 | Fri | Displacements of Jesus and Christ Figures ( Instructor at Professional Meeting, Class happens in Canvas) | due by 06:59AM |
Jan 30, 2015 | Fri | Religion, Film and the Construction of Race | due by 01:00AM |
Feb 06, 2015 | Fri | Religion in the Art House Film | due by 01:00AM |
Feb 13, 2015 | Fri | Theological Approaches | due by 01:00AM |
Feb 20, 2015 | Fri | Session Seven: Buddhist Film | due by 01:00AM |
Feb 27, 2015 | Fri | Session Eight: Muslim Art Films | due by 01:00AM |