Religion in Film

by John R. May

Book Overview

This carefully edited collection of essays explores, in greater diversity and depth than has been attempted before, the relationship between film and religion. Combining perspectives from traditional film criticism and from religious studies, Religion in Film asserts that it is no longer possible to view films simply in terms of their moral impact, nor is it reasonable to limit religious meaning only to those films that make an explicit appeal to religious elements.

The essays offer a variety of theoretical reflections on the religious interpretation of film, explore particular cinematic variations on the archetypal images of savior and demon, analyze significant cultural trends of a religious nature related to film, and assess thirteen sensibilities--Altman, Bergman, Bunuel, Chaplin, Coppola, Fellini, Hitchcock, Jutra, Kubrick, Peckinpah, Russell, Truffaut, and Wertmuller. The contributors provide a firm basis for analysis while respecting a variety in interpretation.

As the overall structure of the book leads from the universal to the particular, from theory to individual directors and films, so its concern with religious interpretation flows naturally from the universally religious to particular religious worldviews. Among world religions, Christianity claims attention in proportion to its dominant cultural influence in the West where film has more obviously flourished.

The insights and interpretations presented in these essays will be of importance to cinema scholars, film critics, and students of religion and of interest to film buffs, particularly those who are sensible of the religious dimension of films.

• Format: Paperback
• Language: English
• ISBN: 087049368X
• ISBN13: 9780870493683
• Release Date: September 1982
• Publisher: Univ Tennessee Press
• Length: 276 Pages
• Weight: 0.50 lbs.
• Dimensions: 0.8" x 5.5" x 8.4"

Customer Reviews

Insights to the Religious Dimensions of Film

This collection offers many fascinating, clear, and well-written essays on themes and images of religion in film. The book is organized in three parts, beginning with approaches to religious interpretations of film, moving to genres and cultural trends, and finishing with individual treatment of over a dozen directors, including Chaplin, Hitchcock, Bergman, Truffaut, Coppola. Although the essays on the directors are a bit too terse, each introduces insights that are fertile ground for further speculation. Taken as a whole, the book provides a primer for exploring the relationship between religion and film and will be engaging to film scholars in general and to readers interested in religious interpretations in particular. And though aimed at an academic audience, the writing is neither so dull nor obscure as to dissuade the casual reader.