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Djankoff, Christine Gamita M. "Essai d'anthropologie visuelle & sonore d'un "rite élémentaire" - Film de recherche "La joie du feu" : ethnographie de la permanence d'une praxie ontologique pyrobate & de la croyance afférente en Europe orientale." Paris 7, 2003. http://www.theses.fr/2003PA070095.
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De nos jours en Europe, les nestinari en Bulgarie, les anesténarides du Nord de la Grâce dansent sur les braises, baignés de la même ferveur que celle des pyrobates de l'Espagne septentrionale et des Nyungwes de Tété en Afrique australe : Ce rituel « élémentaire » de marche ou de danse sur le feu a été abordé sous l'angle de ses origines, des mécanismes psychosociologiques, neurophysiologiques patents -mis en oeuvre pour ce qui touche a l' «Incombustibilité» et à l'insensibilisation-, des comportements individuels et collectifs, des évolutions historiques comme des significations sociales. Ce point de vue s'est reposé sur une tradition philosophique zététique & méthodologique liées au champ ethnologique. Il,s'est agi de susciter une « synergie transversale » afin de mettre en cause et impliquer directement le parallélisme des diverses branches des sciences humaines considérant le rituel et le « fait de communication » dans sa globalité, toute en construisant progressivement une réflexion à caractère témoin grâce à l'outil majeur de l'anthropologie visuelle et sonore. Son intérêt se peut donc résumer ainsi : - Permettre l'approfondissement d'une manifestation culturelle supposée non décrite ainsi,- Déterminer avec plus d'exactitude l'influence de l'environnement social, lors de leur déroulement. Cette recherche compte dans son analyse principale l'élaboration d'un document audiovisuel à portée anthropologique, portrait d'une nestinarka, inclus & soutenu en ce mémoire numériqueNowadays in Europe, the "Nestinari" from Bulgaria, the "Anestenarides" from Northern Greece dance on burning charcoals, enlightened by the same enthusiasm as the pyrobates from septentrional Spain and the "Nyungwes of Tété" from Southern Africa : its "elementary rite of walking or dancing on fire was discussed through the perspectives of its origins, of its sociopsychological and obviously neurophysiological mechanisms — in connection with the belief of the incombustibility and insensitivity of the human body - , of its individual and collective behaviours , of its historical evolution, as well as its social meanings. This point of view relies on a zetetic methodological and philosophical tradition, related to the ethnological domain. The point was to give rise to a "transverse synergy" in order to directly involve the parallelism of the various branches of the social sciences considering the rite: and the "way of communication" as a whole, while building gradually a conception in a pilot matter thanks to visual anthropology. Its interest can thus be summarised as follows : - Allowing to deepen a assumablely not described cultural event, - Determining more accurately the influence of the social environment throughout the unfolding of this event. This research includes in its analysis the realisation of an audio-visual document in the anthropological range, the portrait of a "Nestinarka", included and argued in this digitally formatted work
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Makosso, Claude Giscard. "Le châtiment et la récompense dans les films de l'Afrique noire francophone : approches psycho-esthétique & socio-esthétique." Montpellier 3, 2007. http://www.theses.fr/2007MON30002.
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Tout en montrant la récurrence de ces notions dans l'univers africain, nous avons tenté d'analyser le sens et la fonction de cette thématique à partir d'un échantillonnade de films. Les œuvres étudiées sont fictives, documentaires, ethnographiques, sociologiques, anthropologiques, etc et concernent le XXème siècle avec une analyse stylistique sur des réalisateurs ouest-africains. Ce qui nous a permis de faire intrusion dans l'actualité du monde contemporain en traitant sur le plan filmique le fait religieux et le fait social tout en posant la question du sens, mais aussi du rapport aux religions, à la tradition, au sacré. Certains événements du film Ceddo fonr remonter les souvenirs à la conscience. On ne peut dire que cela n'a rien à voir avec la vie. Nous avons pu confronter les figures psychanalitiques de Jung et de Freud avec les thèmes de l'eau, du feu, de l'arbre et du soleil. Les deux approches servant de méthodologie sont des sortes de diagnostic du cinéma africain. L'objectif visé n'étant autre que de le distancier pour le rendre à sa complexitéWhile showing the recurrence of the concepts (punishment/reward) in the african universe, we tried to analyze the direction and the function of this set of themes starting from a film sampling. Our effort in the company of reading is an effort of interpretation and thus of creation from where the theory which we baptized: the châtirécompense. Studied works are varied and relate to the Xxème century with a stylistic analysis on West african realizers. By treating on the filmic level the religious fact and the social fact while raising the question of the direction, but also of the report/ratio to the monk, the tradition, with crowned. Certain events of film CEDDO make go up the memories with the conscience. One cannot say that that has nothing to do with the life. We could confront the psychoanalytical figures of the Jung and Freud with the topics of water, fire, the tree and the sund. By initially instrumentalisant the topics by assumptions (philosophical, moral, sociological, anthropological, ethnological and cinematographical) we then supported our reflexion by the analysis of the dialogues while elucidating so much is little, the images, the specific forms of accounts/tales of griots will bambara or mandingue and the essential truths contained in the myths and rites of certain filmic accounts
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Bleuzen, Brigitte. "Religieux en banlieues : sociologie d'un institut religieux de 1940 à 2003 (l'Institut des Fils de la Charité)." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0082.
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Passer d'une situation de relative domination institutionnelle à celui de simple partenaire dans un monde devenu à la fois pluri-culturel et pluri-confessionnel, implique, pour les religieux, la recherche constante de « communautés pertinentes pour l'action collective ». Après les œuvres, puis les syndicats et partis politiques ce furent les associations de chômeurs et petits collectifs d'engagement dans les cités « de relégation ». Les religieux oscillent entre la mise en valeur de leur propre singularité et l'inscription dans une mémoire collective. Une sociologie de la subjectivation propose une typologie de profils différenciés. L'être pour l'histoire construit sa relation au monde sur la base de l'antagonisme dans le but de créer un homme nouveau. L'être pour le monde construit sa présence au monde en intégrant l'altérité et le paradoxe. L'être pour être construit son être au monde dans une « fidélité à lui-même ». Face à cette individualisation des pratiques, les religieux mobilisent la mémoire de leur fondateur pour identifier des ressources symboliques qui permettent de justifier l'action présente et d'engager l'avenir. Diverses « lignées de témoins » émergent alors pour produire la mémoire collective, un « Nous » à la fois pluriel et différenciéThe transition from a situation of relative institutional domination to that of a simple association-based partnership in a world that has become both multi-cultural and multi-denominational implies, for the men of faith, the constant quest for suitable communities in wich to promote social action going from charitable organisations unions and political parties as well as unemployement associations and grass roots movements situated in the cités "suburbs of exclusion". The sociology of subjectivity proposes differentiated profile typologies : The being of history who constructs his relation to the world through antagonism with the aim of creating a new man. The being of the world builds his wordly presence through the integration of otherness and paradox. The being for the being conceives of his being in the world through a "faithfull to himself" and this, in all circumstances. Confronted by this individualism of pratice, the priests explore the memory of their founder in order to identify symbolic resources thus enabling them to justify the present action and their commitments for the future. Diverse "families of references" emerge to produce a "We", collective memory, that is both plural and differentiated
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Agar, Bruno. "La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna, Truth or Dare, 1991 ; I'm Going to Tell You a Secret, 2005 ; I Am Because We Are, 2008." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLE060/document.
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La thèse « La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna : Truth or Dare, 1991, I’m Going to Tell You a Secret, 2005, I Am Because We Are, 2008 » s'intéresse à la façon dont la culture populaire contemporaine utilise des concepts et des outils originaires des domaines du religieux et du politique pour s'exprimer et exercer son influence dans la société. La longévité de la carrière de la chanteuse Madonna fait de son corpus de travail un lieu privilégié pour saisir et analyser l'emploi de tels concepts depuis les années 1990, et offre ainsi l'occasion de mieux comprendre les formes du contemporain et les enjeux de la culture populaireThis dissertation deals with the ways in which the contemporary popular culture uses concepts and tools coming from religion and politics in order to exert some influence on our society. The length of American singer Madonna’s career makes her decades-long artistic expression a privileged locus where such concepts can be grasped and analysed, starting in the 1990’s. This provides the opportunity to better understand the means of expression in our contemporary world, together with what is at stake in popular culture
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Shreve, Adam Terrence. "Framing the sacred : an analysis of religious films in Zimbabwe." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22006.
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This is a study of the production, content, distribution, and reception of different religious films in Zimbabwe, with an emphasis on the audience’s initial reception of the films. Informants’ self-identified religious beliefs and their reception of these selected films are analyzed primarily by using qualitative methods to understand better the interplay between film and religion in Zimbabwe. The films studied in this research are The Jesus Film (1979) created by Campus Crusade for Christ and indigenous, short Jesus films created locally in Zimbabwe in 2012. In order to answer the central research questions of this study, two main approaches are employed: the first is a holistic approach to the analysis of these films. The primary question within this approach is: in what ways do the production, content, and distribution of The Jesus Film and indigenous, short Jesus films affect the reception of the films among informants in Zimbabwe today? The second approach specifically addresses the interchange between the audience members’ self-identified religious beliefs and their reception of the films. There are two central research questions within this approach. First, in what ways may pre-existing perceptions of Jesus shape informants’ responses to and interpretations of Jesus as he is portrayed in The Jesus Film and in indigenous, short Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect those perceptions of Jesus? Based upon the careful analysis of the original data that emerges from the field work of this research, the conclusion provides a series of answers to these questions, revealing new insights into the interplay of film and religion in Zimbabwe.
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Fitting, Jessica. "Attack of the Fallen! Cinematic Portrayals of Fallen Angels in Post 9/11 Science Fiction Film." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/pitzer_theses/2.
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Abstract: The science fiction films which feature the angel Gabriel (The Prophecy (1995), Van Helsing (2004), Constantine (2005), Gabriel (2007), and Legion (2010)) represent a trend in exploring specific socio-cultural issues of America. All of these films explore fears over the loss of faith in American culture in a post 9/11 society. They are comparable to the ways in which science fiction films of the 1950’s addressed fears of the Cold War. By utilizing the alien invasion plot structure from the 50’s, contemporary plots have a pre-defined structure and film language in which to explore the themes of a crisis of faith. The fallen angels featured in all these films have their textual basis in the apocalyptic Jewish text of 1 Enoch, which presents an alternate origin of evil tale to the one found in the Christian Bible, which attributes to wicked fallen angels and provides the religious archetypal themes, moral basis and story ark for the fallen angels of the films. Furthermore, the films evoke an “uncanny Other” through the use of the angel Gabriel, who is a familiar Christian figure but who is uncanny in his modern portrayals, allowing frightening fears of the loss of faith and Christian identity to be explored through a familiar figure. Finally, the fears of encountering a “Muslim Other” in a post 9/11 world, and the millennial fears of uncertainty, are the cultural factors that lead to this crisis of faith present in all of these films.
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Solomon, Evan 1968. "The cinematic experience and popular religion : understanding the religious implications of a cult film." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22503.
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An examination of the Rocky Horror Picture Show illustrates the various ways in which the cinema is closely linked to religious experience. The audience participates in the narrative of the film on both conscious and unconscious levels in the same way as the ancients participated in their myths during ritual ceremonies. Moreover, the audience shifts its mode of cognition in order to appreciate as truth the fantastic events which occur both on and off the screen. Finally, I argue that cult films function as parable in dominant cultures and therefore as primary manifestations of the "counter-civil religion". In this way secular films have more profound religious implications than is at first apparent.
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Andersson, Emma. "Islam på film : En undersökning om framställningen av muslimer på film." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-40934.
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Producing religion on film is not new and investigating the production of religion on film has also been done before. Popular culture has never been so present in our everyday life as it is today, therefore the interest in popular culture is big. This qualitative content analysis examines how Muslims are produced on film. The films used in the survey are: American Sniper, The Hurt Locker, Not without my daughter and Desert flower. Previous research on the subject shows that films generally produce a stereotypical image of Muslims. Researchers argue that instead of showing that culture and individual may be the reason for some opinions or ways the angled the films to make it seem that everything has to do with Islam. The implicit message is then that only Islam is the cause of the Muslim mindset and action. The results of my survey are the same results as previous research shows, Muslims are stereotypically produced, women wear veil and men are evil and aggressive.
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Radovic, Milja. "Cinematic representations of nationalist-religious ideology in Serbian films during the 1990s." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7985.
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This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic. In this dissertation I focus upon how selected films provide insight into the ideological discourse of the 1990s within the Serbian socio-political and cultural context. I discuss a range of Serbian films produced during the 1990s, and I analyse in detail several films, in particular Pretty Village, Pretty Flame (Lepa sela, lepo gore, Srdjan Dragojevic, 1995) and Wounds (Rane, Srdjan Dragojevic, 1998), in which I focus on the depiction of nationalist and religious elements in the films. I analyse cinematic representations of the nationalist-religious ideology, its characteristics, impacts and promotion. On the basis of this analysis I consider the extent to which these cinematic representations are subversive. My dissertation has seven chapters. In chapter 1, which is an introduction to the thesis, I state my research questions and methodology. In chapter 2 I discuss the research context and I consider literature relevant to my research. Since I am basing my research upon different fields, I divide this chapter into three parts: the first one is devoted to the field of film and religion in which I position this study; the second part is on the literature that I used for the exploration of the socio-political context of the 1990s; and the last part is devoted to literature written on Balkan, Yugoslav and Serbian cinema. In chapter 3 I provide an analysis of the Serbian socio-cultural and political context of the 1990s. Chapter 3 is divided into eight parts, in which I primarily focus on the creation, characteristics and impacts of the nationalist-religious ideology. This discussion includes an analysis of the interaction between the Church and the state in the promotion of this ideological discourse. This chapter is important for the further analysis of Serbian film, its contextualization, and understanding the main issues which films communicated. In chapter 4 I analyse Serbian films produced during the 1990s. In the first part of this chapter, and for the purpose of contextualization of Serbian film, I first briefly discuss the cinematic tradition of former Yugoslavia: the Black Wave movement. I move on to discuss the cinematic context of the 1990s and the films produced over this period of time. I particularly focus on several films which dealt with the political-ideological context of the 1990s. I discuss the most significant films which dealt with the war, violence, ideology and the collapse of Serbian society under the Milosevic regime. The aim of this chapter is to provide a cinematic context for the analysed films and a clearer understanding of Serbian film of the 1990s as politically engaged cinema. Chapter 5 is devoted to the film Pretty Village, Pretty Flame while in chapter 6 I analyse the film Wounds. I analyse these two films separately because of their unique depictions of the nationalist-religious ideology. Both chapters are structured the same way and are divided into two major parts. In the first part of each chapter I consider the film's plot, its genre and its production, as well as discussing the film's critical reception. In the second part of each chapter I analyse the film narrative and images. At the end of each chapter I discuss the results of my analysis. Chapter 7 is the last chapter of my thesis and is devoted to the conclusion. In this final chapter I discuss the findings based on the cinematic and contextual analysis in the previous chapters. As part of my final remarks, I outline the contributions this study has made and future research that can be developed on the basis of this thesis.
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Ginach, Erich Lie. "Discurso, silenciamento e alteração material no filme Deus e Brasileiro." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268930.
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Orientador: Suzy Lagazzi-RodriguesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-04T17:45:59Z (GMT). No. of bitstreams: 1 Ginach_ErichLie_M.pdf: 697552 bytes, checksum: e595415052bb956aa6aa6807119da219 (MD5) Previous issue date: 2005
Résumé: Cette recherche, prenant comme référentiel théorique l¿Analyse du discours de la ligne matérialiste, avec le film Dieu est Brésilien s¿est proposée à apporter à la pratique analytique la matérialité du cinéma, en prenant comme approche les scènes dans lesquelles l¿accord entre les interventions divines et les changements filmiques sont traversés par le silence. Dans ces extraits de l¿intrigue, Dieu entre en contact direct avec les humains, produisant des interventions de différents ordres. Les changements filmiques marqués sont caractérisés par caméra lente ou rapide, introduction d¿effet visuel et sonore, suppression dês bruits et remplissage de l¿espace sonore avec de la musique. Cependant, deux diferentes relations de sens sont distingées dans le corpus: d¿un côté par des démonstrations de puissance divine face à l¿insolence des mortels Taoca et Quinca das Mulas, un effet disjonctif est là produit; d¿un autre côté, les interventions pacifiques et humanisées de Dieu dans lês scènes avec la jeune femme Madá produisent un effet conjonctif. Dans les deux groupes de relations certains sens ne sont formulées pas, ce qui se marque à la surface textuelle sous la forme de suspension de l¿interlocution des personnages. De sorte que la nature du silence dans l¿ensemble de scènes soit comprise, il a été nécessaire de renvoyer les formulations ¿ comprenant les images, les gestes, la musique, lês bruits, les mots ¿ aux interdiscours ou mémoire discursive. Ce travail a montré des déplacements de sens dans la position du devin dans la formation discursive religieuse
Resumo: Esta pesquisa, tomando como referencial teórico a Análise de Discurso de linha materialista, com o filme Deus é Brasileiro se dispôs a trazer para a prática analítica a materialidade do cinema, tendo como enfoque cenas nas quais é regular a concomitância entre intervenções divinas e alterações fílmicas atravessadas de silenciamentos. Nesses trechos do enredo, Deus entra em contato direto com os humanos, produzindo intervenções de diferentes ordens. As alterações fílmicas aí marcadas se caracterizam por câmera rápida ou lenta, introdução de efeitos visuais e sonoros, supressão de ruídos e preenchimento do espaço sonoro por música. No entanto, distinguem-se no corpus dois recortes, definidos segundo diferentes relações de sentidos inscritas nas cenas: de um lado, com as demonstrações do poder divino diante da insolência dos mortais Taoca e Quinca das Mulas, produz-se um efeito disjuntivo; de outro, as intervenções pacíficas e humanizadas de Deus nas cenas com a moça Madá produzem um efeito conjuntivo. Em ambos os recortes certos sentidos são silenciados, o que se marca na superfície textual sob a forma da suspensão da interlocução dos personagens. Para que se compreendesse a natureza do processo de silenciamento no conjunto de cenas foi preciso remeter as formulações ¿ incluindo as imagens, os gestos, a música, os sons, as palavras ¿ ao interdiscurso ou memória discursiva. Este trabalho mostrou deslizes de sentidos na posição do divino na formação discursiva religiosa
Mestrado
Mestre em Linguística
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Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture." Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
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Haya, Faisal, and Susanna Benatti. "Film som läromedel inom religionskunskap." Thesis, Malmö universitet, Malmö högskola, Institutionen för samhälle, kultur och identitet (SKI), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42468.
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Gewert, Niklas. "Film och religion : En undersökning om populärkulturens påverkan på film." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-43884.
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Denna uppsats undersöker om populärkulturen påverkar framställningen av religiösa myter på film. Studien utfördes för att ta reda på vilka likheter och skillnader det finns i filmernas händelseförlopp och hur hjälten gestaltas i filmerna. Studien genomfördes som en kvalitativ undersökning med hjälp av en komparativ närläsning av materialet. Empirin som användes i studien var Disneys Moana och Hercules som båda baseras på religiösa myter. Efter den komparativa närläsningen användes Campbells teoretiska hjälteresa som teori. Undersökningens resultat var att de två filmerna har ett mycket liknande händelseförlopp och struktur trots myternas olikheter. Undersökningen identifierade att hjältarna framställs mycket olika trots ett liknande händelseförlopp och hjälteresa.
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Laamanen, Carl. "The Address of the Soul: Phenomenology and the Religious Experience of Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554287220304112.
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Winroth, Jonathan. "Teaching with emotion : Film som pedagogiskt verktyg i religionsundervisning." Thesis, Karlstads universitet, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66101.
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Walsh, Mary E. (Mary Elizabeth) 1941, Barbara Quinn, Callista Roy, and Annette McDermott. "Women Religious Handing on the Faith in America (Film and Discussion):." The Church in the 21st Century Center at Boston College, 2012. http://hdl.handle.net/2345/bc-ir:102674.
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Ruther, Mathilda. "Grekisk mytologi i film : En innehållsanalys om hur grekisk mytologi gestaltas i film." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-36334.
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Religion är inte ett fenomen som nyligen börjat gestaltas i film, detta har gjorts länge. Forskning gällande skärningspunkten mellan religion och film har också funnits i den akademiska världen länge. Det är dock inte lika vanligt att undersöka hur mytologi gestaltas i film. Syftet med föreliggande studie är att undersöka hur den grekiska mytologin gestaltas i filmerna Percy Jackson – Kampen om åskviggen, Percy Jackson – Monsterhavet, Clash of the Titans och Wrath of the Titans. Detta görs genom en kvalitativ innehållsanalys. Tidigare forskning på området visar att myterna som används i film ofta muteras eller modifieras för att passa film eller tv-serier. Man menar att myterna i filmerna kan förhålla sig indirekt eller direkt till de traditionella grekiska myterna. Resultatet av studien visar även detta. De traditionella grekiska myterna modifieras eller muteras för att passa i genren, och för att väcka spänning.
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Maffre, Stéphanie. "La trame du passé et les fils de l’histoire. La fabrique du passé à Mazamet : protestants, catholiques et autres. Enjeux historiographiques et mémoriels. XIXe- XXIe siècles." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP022.
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A Mazamet, au XVIIIe siècle, se développe l’activité de tissage, de travail du drap et de la laine. La ville devient, au début du XXe siècle, un centre mondial de délainage, dans une région plutôt enclavée où, depuis le XVIe siècle, cohabitent protestants et catholiques. Dans ce contexte s’est construit un discours sur le passé de la ville qui énonce le paradoxe, réel ou fantasmé, suivant : « Les ouvriers votaient à droite car catholiques, et les patrons votaient à gauche car protestants ». Ce récit, fruit de près d’un siècle de sédimentation, accepté et intégré par la population, demeure encore aujourd’hui opératoire. La déconstruction du discours permet de penser la capacité du religieux à influer sur la reproduction d’un ordre social établi et encadré par les élites économiques, politiques et religieuses de la ville. Le religieux questionne également cet ordre social, quitte à le subvertir et à revisiter les représentations sociales et religieuses des populations. Dès lors, comment penser les rapports du religieux au social et au politique sans produire d’anachronismes tout en tenant compte des jeux d’échelles sur un temps relativement long? Il s’agit, ici, d’éviter l’écueil de l’essentialisation qui a trop souvent voulu faire dire à l’histoire ce qu’elle n’avait pas été. L’analyse des rapports entre mémoires et histoire met en lumière les périodes et les acteurs du passé oubliés ou occultés dans ce récit. A partir de l’exemple de Mazamet, ce travail interroge la discipline historique sur sa capacité à questionner les modes de production, de transmission, de diffusion de discours sur le passé et à mettre en doute, inlassablement, les évidencesIn the XVIIIth century, in the city of Mazamet, weaving, woollen cloth and wool work started developing. At the turn of the XXth century, the city became a global center for wool pulling in a quite landlocked area where Protestants and Catholics had been co-existing since the XVIth century. Within this context a discourse about the city’s past has been built; it states the following-real or imaginary-paradox: “The workers used to vote right-wing for being Catholics whereas the owners used to vote left-wing for being Protestants.” This statement resulting from almost one century of sedimentation was accepted and integrated by the population and still remains active today. This discourse enables to think about the religion’s ability to influence and reproduce an established social order supervised by the economic, political and religious elites in the city. The religion also challenges this social order, it can even subvert and reexamine the populations’ social and religious representations. Therefore how can the connections between the religious, social and political fields be questioned without making anachronisms while taking into account the plays on scales existing for a quite long time? Actually falling into essentialization should be avoided here as very often it made history what it had not been. Analysing the links between memories and history highlights the times and the actors from the past that were forgotten or hidden by this story. Using the example of Mazamet, this work challenges the history subject on its ability first to question the ways of producing, transmitting and spreading the discourse on the past and then to tirelessly query the obvious
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Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.
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Varrasso, Federico. "Représentations et croyances dans le vodou haïtien : approche filmique d'une communauté religieuse de Port-au-Prince." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100079.
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A travers une exploration filmique menée auprès d'une communauté religieuse de Port-au-Prince, l’analyse des images enregistrées avec les personnes filmées et l’expérience pratique de constructions audiovisuelles participatives, la recherche interroge le système de représentation des adeptes et le rapport qu'il entretient avec la notion de croyance. Elle étudie simultanément par ce biais la réception de formes audiovisuelles spécifiques et l’observation différée des enregistrements en tant qu’outil privilégié d'une anthropologie audiovisuelle appliquée à l'étude des systèmes symboliques de représentation et à leur dynamique évolutive. Cette recherche est marquée par trois étapes de réalisations concrètes selon des paradigmes audiovisuels définis : un multimédia interactif, un film d’observation descriptif chronologique, et un film linéaire poursuivant l’objectif d’une mise en scène de l’autoreprésentation des agents suivant les précédentes étapes collaboratives d’observations, d’interprétations et de constructions audiovisuelles participatives qui forment l’enquête. L’image, sous ses multiples acceptions, est envisagée ici en tant qu’objet transactionnel agissant à différentes échelles sociales, depuis ses usages et fabrications à un niveau individuel jusqu’à ceux-ci à un niveau collectif et transnational. Cet aspect est analysé, d’abord, au moyen de la confrontation successive entre imagerie religieuse produite au sein de la confrérie et représentations audiovisuelles produites par la recherche elle-même et retournées aux agents, et ensuite, par confrontation avec l’iconographie religieuse et les représentations anciennes et contemporaines produites par des sources endogènes et exogènes à l’aire culturelle haïtienne. Le texte analyse ainsi la construction de représentations et leurs effets depuis les expériences pratiques menées avec les individus d’une communauté jusqu’à celles qui intègrent certains évènements sociohistoriques, certains clichés et certaines figures mythologiques d’inspirations vodou ayant intégrés la culture occidentale à travers, notamment, des représentations romanesques et hollywoodiennes ayant eu un fort succès et continuant à alimenter l’imaginaire occidental et haïtien aujourd’huiThe Haitian voodoo presents a profusion of practices and perceptible representations, symbolic ones, as material as corporeal. He influences the arts and the literature of a whole culture, well beyond the circle of his followers. If it is plural from origin, it was also collected and represented in a multiple way by his outer observers. Forged during a tempestuous history and present, its representation system seems to present a character at the same time persistent and permeable, connected to the faith itself. Through the analysis of worship images, a cinematic exploration conducted within a religious community of Port-au-Prince, and finally through a participatory experience of confrontation of the recorded images with the agents and film construction according to three different modalities, the study attempts to question the representation system of the followers and the relationship which it maintains with the faith. The research also tries to examine restitutions forms and specific visual anthropology tools applied to the study of symbolic representation systems and their dynamics
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Sandelin, Amanda. "”I know you know I’m not religious, but I am REALLY not religious” : En studie gällande interkulturella relationer på film med fokus på religion som konfliktskapande – exemplet judendomen." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-81248.
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The purpose of this essay is to examine how movies portray Judaism in movies made for a large audience. The study used four movies ranging from the year 2009-2018 and that were categorized in different genres with the aim of investigating how relationships that involve people from different religious backgrounds get into conflicts and how these are resolved. The study’s main research question was why the characters in the movies get involved with conflict regarding religion and a textual analysis where the movies functioned as text was used as the method. To present the results the method of excerpt commentary units as known by Emerson was used. The analysis showed that one of the reasons why conflicts are created regarding Judaism is because one part of the relationship lacks in knowledge regarding the religion. Because of this the person ridicules and makes derogatory comments to the other person in the relationship, to the point where conflict is created because the other person in the relationship does not feel respected. The study also showed that these particular conflicts were resolved by the person learning more about the others religion which lead to a more understanding standpoint in the relationship. The analysis also showed that another big reason for conflict in the relationships regarding Judaism was that both parties felt pressure from outside sources, such as family, friends or other significant people. This caused the relationship to suffer because neither person in the relationship would stand up to these outside forces and instead they took it out on the relationship.
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Defoy, Sophie. "James Tissot, peintre des récits évangéliques." Master's thesis, Université Laval, 1992. http://hdl.handle.net/20.500.11794/33428.
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La présente étude est consacrée au peintre nantais du XIXe siècle, James Tissot, et à son œuvre d'inspiration biblique intitulée la Vie de Notre-Seigneur Jésus-Christ. Elle se veut une recherche sur la valeur artistique et historique de l'œuvre. Par diverses façons, James Tissot nous entraîne dans un univers réaliste, basé sur ses recherches archéologiques, typologiques et topographiques. En outre, une connexité s'installe entre les périodes picturales mondaine et biblique de sa carrière artistique, ce qui créera une œuvre teintée d'influences de toutes parts. L'analyse de l'œuvre religieuse se fera par un aperçu de la biographie de l'artiste, une recherche sur sa théorie de l'art biblique, un regard sur le contexte artistique, politique, social et religieux ainsi que sur la fortune critique du peintre, lesquels serviront à cerner les tendances picturales de l'artiste. Enfin, l'influence de l'œuvre religieuse de James Tissot dans le cinéma français et américain se retrouve en postface de ce mémoire.Montréal Trigonix inc. 2018
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Yam, Chi-Keung. "Study of popular Hong Kong cinema from 2001 to 2004 as resource for a contextual approach to expressions of Christian faith in the public realm after the reversion to Chinese sovereignty in 1997." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/4015.
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In this thesis I study popular Hong Kong cinema through analysing specific films produced between 2001 and 2004. They are Shaolin Soccer (2001), The Infernal Affairs Trilogy (2002-2003), and Kung Fu Hustle (2004). My aim is to identify insights from these films in order both to interrogate and to inform the public expressions of faith by local Christians in the period after the reversion to Chinese sovereignty in 1997. In this thesis, these expressions of faith are represented by local Christian productions released in cinemas also between 2001 and 2004. Being the first detailed study of Chinese language film in the developing field of theology-religion and film, this thesis serves to extend the geo-cultural scope of this area of research. Throughout this study I adopt a tripolar approach to theology which is simultaneously practical, contextual, and cultural. It starts with practical concerns and aims at informing Christian praxis; it is concerned with local issues and reflects on local practices; it regards the cinema as a cultural text and as resource for local theology. My film analysis draws upon a cultural studies approach which combines textual and contextual studies, and is enriched by extensive references to writings by local critics and audience members. Using this multi-layered approach, I scrutinise the top grossing local film of each year from 2001 to 2004 within its original sociocultural context of production and reception. The same approach is also applied to examine the Christian films. At the heart of this thesis is my analysis of both Christian films and popular films. I demonstrate that the local Christian films exhibit a number of characteristics, which include: other-worldly spirituality; individualistic worldviews that focus on personal fulfilment; exclusive emphasis on marriage and the family; as well as disinterest from the social context and indifference towards the present. My contextual study on the development of Christianity in Hong Kong reveals that these characteristics mirror the popular theologies prevalent in many local Christian communities. In contrast, the popular films are often perceived locally to be implicit representations of circumstances after the reversion of sovereignty, and are thus regarded as stories of Hong Kong people and society. I discuss how these films address important issues which confront the people, take the local cultural-religious traditions seriously, assume the point of view of the marginal, and embrace rather than condemn human weaknesses. As cultural texts, they suggest that the people of Hong Kong are struggling with unresolved identities and anxiety over being marginalised, grappling with the tension of retention versus abandonment of collective memories, and longing for transformation from their perceived perpetual despair. These characteristics, I contend, are manifestations of a collective state of liminality experienced by many people in Hong Kong after 1997. In the conclusion, I propose a contextual approach to public expressions of Christian faith for Hong Kong under Chinese sovereignty. My proposed approach involves attentiveness and humility toward local cultural-religious traditions; relocation to the periphery for the assumption of a marginal perspective; identification with and embrace of the liminal condition of the people. Finally, I suggest that the challenge for public expressions of Christian faith in this context is two-fold. First, it is to be able to tell the stories of post-1997 Hong Kong; second, these stories need to be grounded on a sound theology of liminality which embodies and addresses the post-1997 experience in the city. This specific study on Hong Kong cinema also has wider implications for those seeking to express their Christian faith in the public realm, particularly through various popular audiovisual media.
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Burton, Aaron V. "Jesus in the Movies: A Rhetorical Analysis of Selected Films from 1912-2004." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1205087180.
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Pallin, Hanna. "Etikundervisning med film som pedagogiskt verktyg : En studie om religionskunskapslärares ämnesdidaktiska val." Thesis, Högskolan Dalarna, Religionsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-36264.
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Film är ett populärt medium som har blivit allt mer vanligt att använda i undervisningssyfte. Följande uppsats har studerat hur film kan användas i religionskunskapsämnet för att undervisa om etik.Syftet med denna uppsats var att undersöka hur sex gymnasieverksamma religionskunskapslärare undervisar om etik med hjälp av film som pedagogiskt verktyg, genom att ta reda på hur de beskriver och motiverar sina ämnesdidaktiska val kring det. Uppsatsen har också undersökt lärarnas synpunkter på att använda film som pedagogiskt verktyg i undervisningen och analyserat vilka kompetenser som lärarna anser vara önskvärda för eleverna att uppnå i etikundervisningen. Undersökningens empiri har samlats in med hjälp av en kvalitativ metod med kvalitativa forskningsintervjuer. Urvalsgruppen har valts med särskild hänsyn till respondenternas profession och lämpliga erfarenhet för ämnet.Studiens resultat visar att lärarna undervisar på olika sätt, däribland med normativa teorier, etiska dilemman, övningar och diskussioner. Lärarna använder kortfilmer, spelfilmer, tv-serier och dokumentärer som innehåller olika etiska dilemman för underlag till diskussion, etisk analys och skriftliga uppgifter. Att väcka elevers uppmärksamhet, intresse, provocera fram diskussion och att få variation i undervisningen beskriver flera motiv till att använda film bland lärarna. Enligt lärarna kan också film levandegöra, engagera och möjliggöra arbete på ett känslomässigt plan. Utmaningar med att använda film har visats vara tidsperspektiv och filmrättigheter samt att hitta relevanta filmer för eleverna. Mot bakgrund av uppsatsens teoretiska referensram kunde två ytterligare kompetenser hittas i lärarnas utsagor, att identifiera etiska problem och att vara engagerad och uppmärksam. Dessa kompetenser finns inte uttryckliga i religionskunskapens ämnesplan och det kan därför tolkas som ett tecken på en outtalad etikutbildning.
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Kling, Martin. "Hugget i sten : En kvalitativ studie om hur Gud och Moses framställs i tre nutida filmadaptioner av exodusberättelsen." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61287.
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The purpose of this paper is to examine how God and Moses are depicted in three contemporary American film adaptions of The Exodus story. The films I have analyzed are: The Ten Commandments (2006), The Bible: Exodus (2013) and Exodus: Gods and Kings (2014). For this, I have used a content analysis and Bruce Lincoln’s theory of religious maximalism and minimalism. This study has shown that the first two films are characterized by an almighty God who helps Moses from the very first step, while the third gives a more scientific explanation of e.g. the ten pledges and the crossing of the Red Sea. While God in The Bible: Exodus (2014) is also portrayed as a god who acts out of love and compassion for his people, this is not the case in the other two films which instead portray him in a much more negative light. My conclusion is therefore that these three films do not only differ in how God and Moses are depicted but that they provide us with different messages about God and religion in general.
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Khedre, Mounira. "Naguib Mahfouz et Michel Houellebecq : deux romanciers face au tabou religieux. Le cas des Fils de la Médina [Awlâd Hâratinâ] et de Plateforme." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00831353.
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Le tabou est un sujet éminemment délicat dans le champ universitaire, car il appartient, en premier lieu, à la religion, et en deuxième lieu, à la vie sociale. D'après notre étude, le statut du tabou change, au fur et à mesure que le temps passe et que la technologie progresse. En d'autres termes, Internet permet la circulation de livres et de publications interdits et les rend accessibles au plus grand nombre d'intéressés. Par exemple, des œuvres comme Les Fils de la Médina [Awlâd Hâratinâ] ou Plateforme, peuvent être tout simplement lues en ligne partout dans le monde entier. Donc, la notion de tabou religieux qui a toujours dépendu de la culture de chaque pays et du rôle qu' y jouaient les religieux dans la vie politique, religieuse et sociale, risque d'être ébranlée, ou, tout au moins d'être influencée par une diffusion que les moyens technologiques ne cessent de rendre plus rapide.
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Moy, Jean-Yves. "Le père Émile Anizan (1853-1928), religieux au service du peuple : des Frères de Saint Vincent-de-Paul aux Fils de la Charité." Paris 4, 1993. http://www.theses.fr/1993PA040030.
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Religieux français, appartenant à la mouvance du catholicisme intransigeant, le Père Émile Anizan (1853-1928) consacre sa vie au service des pauvres et particulièrement des ouvriers. Cette orientation pastorale portée par un haut idéal spirituel, la charité, le conduit à promouvoir l'évangélisation populaire par les œuvres, dans la congrégation des Frères de Saint Vincent de Paul, d'abord comme aumônier de maisons d'œuvres à paris (1887-1894), puis comme assistant (1895-1907) et supérieur général (1907-1914) ainsi que dans le cadre de l'union des associations ouvrières et catholiques dont il était vice-président simultanément. Son institut est parcouru par des tensions internes qui portent sur son organisation et sa mission, les désaccords, étant alimentés par les débats qui parcouraient alors l'Église sous l'influence des catholiques intégraux, la visite apostolique ordonnée en 1913 par le Saint-Siège provoque un véritable schisme congréganiste. Le Père Anizan, démis de ses fonctions, quitte la congrégation en 1914. Il fonde le 25 décembre 1918 une nouvelle famille religieuse, les Fils de la Charité, voués à l'apostolat populaire dans le cadre des paroisses ouvrièresA French monk, belonging to the movement of the strict Catholicism, father Emile Anizan (1853-1928), devotes his life to the service of the poor people, and particularly to the working classes. This orientation, supported by a high spiritual idea, and by charity, induces him to make of popular evangelisation a priority, through charitable institutions. First, he belongs to the congregation of FSVP, as chaplain of charitable institution (1887-1894), then as member assistant (1895-1907), then as the head of the congregation (1907-1914). Too, he's vice president of the catholic workers associations. In the same time, there are many internal conflicts in the congregation, about the organization, the mission. These conflicts are still more important because of the internal debates inside the catholic church, because of the influence of the integrists. The apostolical visit, commanded by the pope in 1913, is the final cause of a real fracture in the congregation. Father Anizan, who was obliged to leave his functions, leaves the congregation in1914. December 25th 1918, he founds a new religious family, the Sons of Charity, devoted to the evangelisation of the working people, within the framework of the parish
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Romelin, Hanna. "Shejk eller terrorist, annat finns inte att välja på : En litteraturstudie om muslimsk identitet på vita duken." Thesis, Högskolan Dalarna, Religionsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27109.
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The purpose of this thesis is to examine the field of research regarding Hollywood feature films, the construction of stereotypes of Muslims and Arabs and what impact the negative stereotypes might have on Muslims’ concept of the self. The purpose is also to discuss what consequences this can have for the multi-cultural classroom. In order to fulfill the purpose, three questions where created. The first one was to examine research regarding the Hollywood feature films portrayal of Muslim stereotypes. The second question was to examine research regarding the feature movies impact on the conception of the self. The third question was to examine the research regarding feature films negative portrayal of Islam and Muslims own comprehension of the portrayal. The analysis has been conducted as a systematic literature study of material relating to feature films portrayals of Muslims and Arabs, Muslims’ own opinions of the portrayal and material relating to feature films effect on identity. The reached conclusion is that Hollywood’s feature films portrayal of Islam, Muslim and Arabs are utterly negative and limited. The examined research also shows that feature films have a huge impact on the viewers’ everyday life and concept of the self. Some research shows that feature films is a source to viewers’ existential questions and can also work as building blocks to their own identity. The research regarding Muslims’ own conception of feature films portrayal of Islam where limited. The examined researched show that Muslims’ have been victims of discrimination, hatred and violence from the society. However, how it might inflict the perception of Muslims identity have not been clarified.
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Gabig, John Stanley. "Religion, film and youth : a qualitative study of the use of film in meaning-making and religious expression by the young people of St. Quaratus' Episcopal Church." Thesis, King's College London (University of London), 2006. https://kclpure.kcl.ac.uk/portal/en/theses/religion-film-and-youth--a-qualitative-study-of-the-use-of-film-in-meaningmaking-and-religious-expression-by-the-young-people-of-st-quaratus-episcopal-church(3692390e-777f-4bc7-b1ba-3dc42e0a0ede).html.
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This is a major in-depth qualitative study of congregational use of film. The use of film by the young people of St. Quaratus' Episcopal Church, New Martinton, Pennsylvania, signals a convergence of the practice of religion and the practice of cultural consumption. What this thesis shows is that these religious young people are avid film viewers and that film functions in religion-like ways in their lives. Film operates primarily as implicit ordinary religion offering a means by which they orient themselves in the world and in a limited way as extraordinary religion, in that much of the film-watching documented herein, took place in the context of their traditional religious community. For these young people, film is a significant resource for implicit theological themes, role models and vernacular by which they orient themselves in the world and express religious meanings and values. However, although much of their film viewing takes place in the context of their traditional religious community, when assessedin the light of the Chicago Lambeth Quadrilateral of 1888, which has been affirmed repeatedly as a core doctrine of the Episcopal Church USA for more than 120 years, their traditional religious practice is not explicitly traditional Christianity in its theological underpinnings. Furthermore the data suggests that the leadership of the parish and in particular those working amongst the youth, offered the young people little help for making explicit connections between their implicit theologies found in popular culture and the explicit theologies in traditional Anglican/Episcopal Christianity. As a result, amongst the many potential implications that can be drawn from this study, the research calls for greater intentionality on the part of those who engage in religious work with young people, to educate and equip youth to think critically about the power of popular culture and to dialogue with their religious tradition by cultivating a "critical reflexive spirituality".
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Frängsmyr, Svahn Mikael. "Att skildra det obeskrivliga : En kvalitativ studie om den bibliska filmen i religionsundervisning." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135686.
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This study investigates how the genre of movies known as ”biblical films” should be used in education of religion, specifically the version practiced in Swedish upper secondary schools. The problem as stated is that the biblical film has become a common tool for teachers, without a deeper or even general knowledge of what the biblical film consists of and promotes. Using a deductive method within a qualitative framework, this study compiles and analyses the existing scientific literature regarding the properties of the biblical film and the use of film in education of religion. The result is a series of conclusions based on deductive reasoning, drawing from the analysed work. These conclusions state that the biblical film is a tool for teaching about the theological content of christianity, as well as the transcendent aspects and, to some degree, the ethical aspects of religion. The study also concludes that the biblical film should not be used to teach students in religious history, and also not to represent the religions of judaism and islam. With these conclusions, the study creates a tool for teachers to practice while using biblical film in education of religion, and also points to related areas waiting to be studied in the future.
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Le, Roux Elisabet. "Spirituality in film : a critical enquiry into the film Yesterday and the question of stigmatisation within the context of the HIV pandemic." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/20446.
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Thesis (MTh)--Stellenbosch University, 2008.ENGLISH ABSTRACT: Conventional HIV intervention strategies are based on the presupposition that scientific knowledge and appropriate information about HIV will curb the spread of the disease. The dominant approaches to the HIV debate and pandemic focus mostly on the medical, pedagogical and ethical dimensions of the pandemic. Governments are concerned with democratic and human rights and the juridical implications of HIV. This study proposes that a team approach should be followed, with the emphasis on a holistic model of prevention care. In this regard it is hypothesised that the spiritual dimension, emphasising our human quest for meaning, moral decision-making and virtues as related to the transcendent dimension of our being human, should play a substantial role. One of the most burning issues in the pandemic is the phenomenon of stigmatisation. This investigation is in search of an approach that can effectively penetrate the realm of prejudice, blaming, and discrimination. If spirituality can address stigmatisation, antistigma interventions must acknowledge the role of pastoral care with its emphasis on ‘soul care’, values and meaning. The study explores the possibility of extending the traditional understanding of theology as fides quarens intellectum, with its emphasis on knowledge (the rational), to fides quares imaginem, with its emphasis on imagination (the aesthetic dimension of life). Therefore the important presupposition that, due to the aesthetic dimension of faith, care to people living with HIV should include the aesthetic dimension. If one links fides quares imaginem to fides quarens visum new options can be created for Practical Theology. In this regard, the visual dimension of life as represented by media, and specifically film, should be investigated in a HIV prevention strategy. The study thus proposes that a specific form of art, namely film, has potential as an effective antistigma intervention. It is hypothesised that film inherently has a spiritual dimension. This spiritual dimension could be linked to issues that can determine the direction and meaning of life, as well as the understanding of human identity and dignity. In this regard the study wants to determine to what extent film can play a fundamental role in addressing the realm of attitudes, convictions and belief systems. Film is thus suggested as a medium for spiritual intervention in order to bring about change on the level of perceptions. Lesser-educated people are very vulnerable, especially in relation to HIV. The study wants to explore whether film can be an effective medium of addressing, educating and influencing such people at their level. In order to test this, an empirical study was done to assess the effect that film has on HIV stigmatisation within such a group of people. The aim of the empirical research was not to create statistical evidence, but to illustrate certain trends and tendencies. A group of people from Vlaeberg, a rural area outside of Stellenbosch, South Africa, was chosen for the study. In order to empirically explore the potential of film in addressing HIV stigmatisation it was decided to use the film Yesterday, the first South African film to be nominated for an Oscar. The film was chosen for the following reasons: a) it is set within South Africa, depicting vulnerable persons within a rural setting; b) it has a positive, though realistic approach to HIV; c) it depicts the cruelty of stigmatisation; d) it shows how you can assist those with HIV; and e) it is easily understandable. The film was positively received and able to influence the stigmatising perceptions, attitudes and convictions of the target group. The empirical study proved that film has a spiritual dimension and should be used as a medium for spirituality formation. Due to this, it has an important role to play in antistigma interventions. In this regard, the research showed that film can indeed play a decisive role in a HIV prevention strategy and an antistigma intervention.
AFRIKAANSE OPSOMMING: Konvensionele MIV-ingrypingstrategieë word gebaseer op die aanname dat wetenskaplike kennis en geskikte inligting aangaande MIV die verspreiding van die virus sal kan halt. Die dominante benaderings tot die MIV-debat en –pandemie fokus meesal op die mediese, pedagogiese en etiese dimensies van die pandemie. Regerings is bemoeid met die demokratiese regte, menseregte en wetlike implikasies van MIV. Hierdie studie stel voor dat ’n spanbenadering gevolg moet word, waarbinne die fokus sal wees op ’n holistiese model van voorkomende sorg. Die hipotese is dat die spiritualiteits-dimensie ’n substansiële rol moet speel, aangesien dit ons menslike strewe na betekenis, morele besluitneming en waardes, soos dit in verhouding staan tot die transendente dimensie van ons menswees, in ag neem. Een van die kwellende vraagstukke van die pandemie is stigmatisasie. Hierdie navorsing soek ’n benadering wat effektief die gebied van vooroordele, beskuldiging, en diskriminasie kan penetreer. Indien spiritualiteit stigmatisasie kan aanspreek, moet antistigma-ingrypings die rol van pastorale sorg, wat klem lê op ‘sielesorg’, waardes en betekenis, erken. Die studie ondersoek die moontlikheid dat die tradisionele verstaan van teologie as fides quarens intellectum, met die klem op kennis (die rasionele), uitgebrei moet word na fides quares imaginem, met die klem op die verbeelding (die estetiese dimensie van die lewe). Daarom word die belangrike aanname gemaak dat, as gevolg van die estetiese dimensie van geloof, sorg vir dié met MIV die estetiese dimensie moet insluit. As ’n mens fides quares imaginem skakel met fides quarens visum word nuwe moontlikhede ontsluit vir Praktiese Teologie. In hierdie opsig moet die visuele dimensie van die lewe, soos dit uitgebeeld word deur die media en meer spesifiek film, ondersoek word in ’n MIV-voorkomingstrategie. Die studie stel voor dat ’n spesifieke vorm van kuns, naamlik film, potensiaal het as ’n effektiewe antistigma-ingryping. Daarom die hipotese dat film inherent ’n spirituele dimensie het. Hierdie spirituele dimensie kan geskakel word met kwessies wat die rigting en betekenis van lewe kan bepaal, sowel as ons verstaan van menslike identiteit en waardigheid. Gevolglik wil hierdie studie bepaal tot watter mate film ’n fundamentele rol kan speel in die aanspreking van houdings en oortuigings. Film word dus voorgestel as ’n medium vir spirituele ingryping om sodoende verandering te bring op die vlak van persepsies. Mense met minder opvoeding is baie kwesbaar en blootgestel, veral in terme van MIV. Hierdie studie ondersoek of film ’n effektiewe medium kan wees om sulke mense aan te spreek, op te voed en te beïnvloed. Om dit te bepaal is ’n empiriese studie gedoen wat moes vasstel watter effek film het op MIV-stigmatisering binne so ’n groep. Die doel van die empiriese studie was nie om statistiese bewyse te lewer nie, maar om sekere neigings en tendense aan te toon. ’n Groep mense van Vlaeberg, ’n plattelandse area buite Stellenbosch, Suid-Afrika, is gebruik vir die studie. Die film Yesterday is gebruik vir die empiriese ondersoek aangaande die potensiaal wat film het om MIV-stigmatisering aan te spreek. Yesterday is die eerste Suid-Afrikaanse film wat vir ’n Oscar benoem is. Die film is gekies om die volgende redes: a) dit speel af in Suid- Afrika en weerlose mense binne ’n plattelandse omgewing word uitgebeeld; b) dit het ’n positiewe, dog realistiese benadering tot MIV; c) dit beeld die wreedheid van stigmatisering uit; d) dit dui aan hoe ’n mens diegene met MIV kan bystaan; en e) dit is maklik verstaanbaar. Die film was positief ontvang en het die stigmatiserende persepsies, houdings en oortuigings van die groep beïnvloed. Die empiriese studie het bewys dat film ’n spirituele dimensie het en as medium vir spirituele vorming gebruik moet word. Dus het film ’n belangrike rol te speel in antistigma-ingrypings. In hierdie opsig het die navorsing gewys dat film wel ’n deurslaggewende rol in ’n MIV-voorkomingstrategie en ’n antistigma-ingryping kan speel.
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Kumar, Priya Haryant. "Ruptured nations, collective memory & religious violence : mapping a secularist ethics in post-partition South Asian literature and film." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.
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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit
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Leopard, Mitchell L. "Loose Canon on Deck: How Contemporary Christians React to Media Portrayals of Faith, Beliefs, and Rituals." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04302007-181623/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Timothy Renick, committee chair; Christopher White, Kathryn McClymond, committee members. Electronic text (106 p.) : digital, PDF file. Description based on contents viewed Dec. 31, 2007. Includes bibliographical references (p. 96-100). Filmography: p. 94-95.
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Isvind, Elin. "Utmana kulturella normer : Film som läromedel i en religionsvetenskaplig representationsdiskussion." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24493.
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Världen idag blir allt mer globaliserad och länder får ett starkare mångkulturellt samhälle där det är vitalt att närma sig en interkulturell samexistens. Denna uppsats ämnar svara på frågan hur kan film användas i religionskunskapen för att skapa förståelse och acceptans för ’den andre’? samt diskutera hur normativa och stereotypa föreställningar presenteras i filmerna och huruvida dessa utmanas. Med utgångspunkt i filmerna Saved! (2004) och Bend it like Beckham (2002) analyseras och diskuteras representation utifrån begreppen intersektionalitet, interkulturalitet och normkritisk pedagogik i syfte att exemplifiera hur film kan agera som ett verktyg för att ge elever interkulturell kunskap och en djupare förståelse för den andre. Båda filmerna berör teman som religion, tradition och kultur i olika grad och med glimten i ögat, där de identitetssökande processerna är i fokus. Dessa båda titlar tillhör genren komedi med unga protagonister i elevernas egna åldrar där de behandlar och möter vardagliga problem som oförstående föräldrar, strävan efter drömmar, oväntade hinder och att hitta sin plats i samhället. Trots att en ökad xenofobisk diskurs växer fram inom olika mediala plattformar besvarar denna text att kulturell mångfald är något att värna om. Vidare framkommer det att film är ett bra redskap i klassrummet för att minska bryggan mellan kulturella skillnader där fokus ligger på samexistens och illustrerande av främmandegörande processer.
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Malmqvist, Lina. "Filmatiseringar av Exodus : En undersökning om hur Moses liv framställs i film." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-44067.
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Religion och film är ett ämne som fångat mångas intresse, inte minst de som önskar veta huruvida film är ett lämpligt medium för religion och för de som önskar använda filmer i sin religionsundervisning. Denna undersökning kom till för att ge svar på några sådana funderingar genom att undersöka hur två filmatiseringar, Prince of Egypt och Exodus Gods and Kings, skiljer sig från ursprungsberättelsen kring Exodus som finns i andra Moseboken. För att göra detta togs tre frågeställningar fram; om det finns skillnader mellan filmateringarna och grundhistorien och hur dessa i så fall yttrar sig, hur dessa eventuella skillnader påverkar berättelsens framställning samt huruvida filmatiseringarna kan användas i ett undervisningssammanhang. Undersökningen gjordes genom att använda en komparativ metod för att jämföra utvalda scener ur berättelsen med deras motsvarighet i filmatiseringarna och undersöka aspekter så som tidshantering, karaktärer och vilken typ av text de bedöms vara utifrån några förvalda kriterier. Resultatet visade att det finns stora skillnader i tidshanteringen i de utvalda scenerna och att många karaktärer fick en marginell roll som inte uppfyllde samma syfte i filmatiseringarna som de gjorde i den ursprungliga historien. Det gick också att utröna att filmatiseringarna främst var berättande snarare än beskrivande och alltså inte hade återberättande som sitt huvudsakliga syfte utan snarare underhållning. Baserat på dessa resultat kunde slutsatsen dras att det finns ett flertal olika skillnader mellan filmatiseringarna och ursprungshistorien och att dessa påverkar berättelsens framställning i hög grad. Hur framställningen påverkas av dessa ändringar hade behövt undersökas ytterligare. Det gick även att dra slutsatsen att de inte är lämpliga att använda i ett undervisningssammanhang utan att göra eleverna medvetna om de skillnader som finns och föra en diskussion kring dem, vilket är högst tidskrävande.
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Kling, Martin. "När film och tv blev religion : En kvantitativ studie om i vilken utsträckning gymnasieelever använder sig av film och tv (och i synnerhet webb-serien SKAM) som en resurs för religiöst meningsskapande och livstolkning." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80117.
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The purpose in this paper is to examine in which extent students in the Swedish gymnasium use film and tv (with a special focus on the Norwegian youth series SKAM) as a resource to create religious meaning and interpretation of life in the aspects of their view on e.g. knowledge, society, cosmology and theology. To examine this I have used a web survey which were completed by 139 pupils from different programs in the grades 1 to 3. As goes for theory I have used Stig Hjarvards thoughts about meditiazation and banal religion. This study has shown that students, whatever they are male, female, “traditional” believers or non-believers, uses film and tv in a high degree when it comes to create religious meaning and interpretation of life. I have also been able to prove that popular culture in the form of film and television has a much greater presence in the students’ life than many kinds of “traditional” religious practices. Quite interesting is that both women and believers seems to rely on film and tv in a higher frequency than the other two groups when it comes to these kinds of questions. This is interesting because the result is somewhat different from earlier research. All in all, the result of this study confirms e.g. Mia Lövheim’s thoughts that young people are not less religious today than they were before, but instead have developed a more “detraditionalized” form of religiosity. And also that “traditional” religious authorities today have lost its monopoly on the religious minds of the youth through mediatization and that media and popular culture now must be seen as a religious authority by itself.
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Johansson, Martin. "Bibeln: En Star Wars Saga : En hermeneutisk tolkning av kristna inslag inom Star Wars." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71616.
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Religious elements are not uncommon in the field of popular culture, especially regarding movies, and the Star Wars series have implemented all sorts of different religious themes and religious symbolisms, almost as a sort of religious melting pot. This work, however, seeks to isolate and focus on a singular religious tradition. This essay aims to examine if, and what kinds of Christian elements are present in the first Star Wars trilogy. To determine what kind of religious and Christian elements that are present in the source material, which consist of the three original Star Wars films, episode IV through VI. The films were analyzed by using a hermeneutic theory and method, which would allow an interpretation of elements in the films which later could be considered religious and directly Christian, by connecting them to direct and indirect connotations in the Bible and Christian theology like that of Martin Luther. The results of the analysis show a few different kinds of Christian elements to be found in the first three movies. The results consist of: Names and symbols, Christian thematic in scenes and three overarching themes, salvation, Luke Skywalker as a messiah’s character, and different interpretations of the Force. An example of the results is regarding Martin Luther and sola fide and how that connection can be made to Star Wars. In the scene where this connection is made, we see our protagonist Luke Skywalker, using faith, and faith alone do destroy the Death Star, thereby redeeming not only himself but also the rebel alliance, which in turn can be likened as a symbol for the resurrection of Christ.
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Momberg, Marthie. "Different ways of belonging to totality : traditional African and Western-Christian cosmologies in three films : an exploratory literature study." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5452.
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Thesis (MPhil (Religion and Culture) Practical Theology and Missiology))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This study distinguishes between religion as a sense of belonging to the ultimately-real and specific religious traditions. Religion, as used here, concerns a cosmological understanding of the universe and with that which is experienced as meaningful and real on an existential level. Although differences between religious traditions are generaly known, most people‟s emotional conceptual frameworks of the universe are so deep seated that they do not even realise that far-reaching differences between people on this level too are possible. It often happens, for example, that concepts such as transcendence and redemption are incorrectly accepted as universal to all of humanity. Yet in fact, cosmological concepts (the nature and experience of the immediate world out there, the conceptual understanding of time, the role of chance versus determinism, the source of religious knowledge and so forth) can be experienced differently on a symbolic level. In the context of Religion and Media which is the field of study relevant here, as well as in a number of other contexts, it is problematic when scholars project their own views of reality and meaning experiences onto those of others – especially when they expressly articulate their intention as the opposite. John Cumpsty (1991) distinguished three ways in which a person can derive meaning from the cosmic totality and I shall discuss two of these with reference to the Western-Christian and the traditional African reality views. From this, it becomes clear that radical different patterns of cosmological understanding are possible, each with its own systemically related set of symbols. Along with Cumpsty‟s theory, I also use the theory of Castells (2005) on the construction of social identities, as well as the theory of Sen (2006) on the use of cognitive versus affective dimensions in identity formation, to indicate how cosmological symbols can be positioned differently. With these three theories in mind, I subsequently interpret the identities of the main characters in three films hermeneutically. I specifically selected this medium as a segment of life to be studied because of the increasing popularity of the medium in reflection, construction and projection of existential meaning. Another reason for my choice is the many examples where interpretors of film project their own cosmological understanding onto those of others whilst they actually intend to be pluralistic. The findings of this study surprised me. Firstly and as expected, it clarifies the nature of differences between the Western-Christian and the traditional African cosmologies, as well as how these are implemented in praxis and by symbolic interpretations. However, the integration of the three theories also afforded me the opportunity to develop a method for a religious-cosmological analyses of identities. According to this method, an interpretor of films can distinguish between his or her own paradigm and a possible other paradigm. It allows the analyst to acknowledge the own paradigm and simultaneously respect another paradigm – without projecting the own onto the other. Therefore this method diminishes the chances of using dubble-text interpretation which maintains or promotes the exclusion of others. With this method, as well as the findings of this study, one can go much wider than the field of Religion and Media, as it involves the understanding of identity and different ways of belonging to the cosmic totality.
AFRIKAANSE OPSOMMING: Hierdie studie onderskei tussen religie as ’n manier van behoort aan die ultiem-werklike en spesifieke religieuse tradisies. Religie soos hier gebruik, het te make met ‟n kosmologiese verstaan van die heelal en met wat eksistensieel as werklik en sinvol ervaar word. Hoewel verskille tussen religieuse tradisies algemeen bekend is, is mense se emosionele verstaansraamwerke van die heelal so diep gesetel, dat die meeste nie eens besef dat daar ook op hierdie vlak ingrypende verskille is nie. So gebeur dit dikwels dat konsepte soos “transendensie” en “verlossing”verkeerdelik as universeel aan alle mense en religeuse tradisies beskou word. In der waarheid kan kosmologiese komponente (die aard en ervaring van die onmiddellike realiteit; tydsverstaan; die rol van kans teenoor determinisme; die bron van religieuse kennis; ensovoorts) egter op ’n simboliese vlak verskillend ervaar word. In die konteks van Religie en Media waarbinne hierdie studie val, asook binne vele ander kontekste, is dit problematies wanneer akademici hul eie realiteitsiening en sinservaring op dié van ander projekteer – veral wanneer hulle hulself uitdruklik voorgeneem het om die teendeel te doen. John Cumpsty (1991) het drie maniere waarop mense sin maak van die kosmiese totaliteit onderskei en ek bespreek twee daarvan met verwysing na die Westers-Christelike en die tradisionele Afrika realiteitsienings. Hieruit word dit dan duidelik dat algeheel verskillende patrone in ‟n kosmiese verstaan moontlik is, elk met ‟n eie stel simbole wat sistemies bymekaar aansluit. Saam met Cumpsty se teorie, gebruik ek ook dié van Castells (2005) oor sosiale identiteitsvorming, en dié van Sen (2006) oor die gebruik van die kognitiewe versus die affektiewe in identiteitsvorming om aan te toon hoe kosmologiese simbole verskillend geposisioneer kan word. Met hierdie drie teorieë in gedagte, ontsluit ek vervolgens die identiteite van die hoofkarakers in drie rolprente hermeneuties. Ek het spesifiek dié medium as ‟n bestudeerbare greep van die lewe gekies weens die toenemende gewildheid daarvan in die refleksie, konstruksie en projeksie van eksistensiële sin. Nog ‟n rede is die talle voorbeelde waarin interpreteerders van rolprente hul eie kosmiese verstaan op dié van andere projekteer terwyl hulle eintlik pluralisties wil wees. Die bevindinge van hierdie studie was vir my verrassend. Dit bring eerstens, soos verwag, wel helderheid oor die aard van verskille tussen die Westers-Christelike en die tradisionele Afrika kosmologieë, asook hoe dit in die praktyk kan uitspeel aan die hand van simboliese interpretasies. Die integrasie van die drie teorieë het my egter ook die kans gebied om ‟n metode vir ’n religieus-kosmologiese analise van identiteit te ontwikkel. Hiervolgens kan ‟n ontleder van rolprente op ‟n redelike, sistematiese en sistemiese manier tussen sy of haar eie, sowel as ‟n moontlike ander, paradigma onderskei. Dit laat die ontleder toe om die eie paradigma te erken, sowel as respek te betoon teenoor ’n ander paradigma – sonder om die eie op die ander te projekteer. Daarom verminder hierdie metode veral ook die kans op die gebruik van ‟n dubbele-teks interpretasie wat uitsluiting van die ander handhaaf of bevorder. Hierdie metode, sowel as die bevindinge van die studie, kan veel wyer as die veld van Religie en Media toegepas word, omdat dit te make het met die verstaan van identiteit en verskillende maniere van behoort aan die kosmiese totaliteit.
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Baird, David. "Zeitgeist incarnate : a theological interpretation of postapocalyptic zombie fiction." Thesis, University of St Andrews, 2019. http://hdl.handle.net/10023/16978.
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This thesis attempts to take seriously the claims made by many postapocalyptic zombie narratives to represent the world as it truly is, analyzing and then assessing the theological value of their depictions of the human predicament. The approach is both formal and what Gary Wolfe calls transmedial, examining the recurring narrative structures and themes of texts across several media and eras as part of 'a popular aesthetic movement and not just a body of works of fiction on similar themes', with special attention given to the films and television of the new millennium. The aim is twofold: to extend the relevance of postapocalyptic zombie fictions beyond the relatively narrow vogue of a cultural moment, and to prompt a richer appreciation of the significance of the Christian faith within contemporary society. To this end, Chapter One contextualizes the complexity of these texts' relationship to Christianity by examining first the most prominent obstacles and then the implicit promise of these texts for theological reflection. It places special emphasis on the interior tension in many of these fictions between, on the one hand, aggressively emphasizing the apparent absence of the supernatural, while on the other, frequently claiming to disclose a dimension of human experience in excess of what can be ordinarily perceived by the senses. Chapters Two and Three extend this analysis to the complex content of what these stories depict. Chapter Two considers the multilayered symbolism of decline in their conspicuous spectacles of disaster, disintegration, and death. Chapter Three examines the countervailing symbolic motifs of residual integrity and regeneration that are exhibited most prominently by characters who attempt to live genuinely human lives in spite of these circumstances. The first half of the thesis concludes by proposing a composite postapocalyptic view of the human predicament, which represents the world as ambiguous, dramatic and quite possibly, although not certainly, absurd. Chapter Four begins the theological reflection upon this kind of postapocalyptic perspective, proposing how such depictions might be illuminated by Christian theological descriptions, particularly the absurd existential circumstances brought about by the original sin. Chapter Five, reciprocally, suggests some of the ways the dramatic images of these texts might enrich theological reflection by eliciting fresh insights into the significance of the central mysteries of Christianity, especially the paradoxical already-and-not-yet of eschatological expectation. The thesis concludes by offering a final evaluation of whether, all told, the world can be truly considered postapocalyptic from a Christian perspective, arguing that although there are significant differences, postapocalyptic fictions and Christianity put forward strikingly similar pictures of the deeply self-conflicted circumstances of the common human predicament.
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Hultgren, Daniel. "Etik och moral i film : En studie om filmers relevans i undervisningen." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-45833.
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The purpose of this religious didactic study is to investigate how ethics and moral can be interpreted in three different movies. The purpose behind this study is to get a better understanding of how these movies could be used in the subject religion within the college school system. This study of use a qualitative method analysis when studying the films, where the films are interpreted from three different ethical theories such as Utilitarianism, Virtue ethics and Deontological ethics. The quantitative method focuses on social convention in order to fully understand the bigger picture. The social aspects are relevant since this study will examine to see if the movies are fit to be material in the classroom. In order to make this clear I will tie the movies to the college pass marks for the subject Religion. Due to this, the control documents and the curriculum will be tied into the use of the movies in order to give teachers a better understanding of what purpose the film will fulfill.
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Lewis, Heidi Diane. "Speaking Out of the Dust: Religious Reenactments with the Specific Iconic Identity of Place." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/505.
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Sometimes, the place where a play is performed is as important as or more important than the play itself. The first known theatrical rituals were performed in spaces which came to hold deep religious significance. Many religious traditions regard certain places as sacred because of spiritually significant events which took place there, sometimes involving the presence of Deity. In an effort to build on that sacrality, sometimes religious cultures bring theatre to these spaces, which, in turn, tend to alter the nature of the theatrical event. This seems especially true in regards to theatre which presents a re-enactment of the events which originally sacralized the performance space. Creating a theatrical performance at the same space, and recreating the same event which made the space sacred in the first place, gives the theatrical event a reflexive quality which performances in a space designated for theatre do not have. The Passion of Osiris in Ancient Egypt and the celebrations and commemorations of the early Christian Church are two examples of theatrical reenactments of sacred events in sacred spaces. Although such performances have been uncommon since those of the early Christians, the Church of Jesus Christ of Latter-day Saints offers two comparable performances today (the Hill Cumorah Pageant and the Nauvoo Pageant); they are also reenactments of sacred events framed by the sacred spaces where they originally occurred. The main commonality of my focus is the sacred physical space which frames each of the performances as a sort of ethereal proscenium arch or a silent witness of sacred events.
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Sehirli, Nasir Merve. "L'influence de la culture catholique sur les œuvres d'Alfred Hitchcock et de Pedro Almodóvar." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3011.
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La notion d’habitus représente un ensemble complexe et stable qui influence, d’une manière profonde, les actes, les attitudes, les jugements et les œuvres. L’objectif de notre recherche est d’éclaircir les effets de l’habitus catholique dans les œuvres d’Alfred Hitchcock et de Pedro Almodóvar, deux réalisateurs de cinéma qui sont d’époques et de cultures différentes, mais qui sont nés et ont grandi au sein des familles catholiques pratiquantes et qui ont eu une éducation caractérisée comme étant strictement religieuse. L’iconologie ou la science des images présuppose que la création d’une œuvre d’art dépend de plusieurs facteurs qui associent à la fois l’éducation familiale et scolaire de son créateur ainsi que sa classe sociale et les conditions de l’époque où la création est réalisée. Dans ce contexte, nous nous servons de la méthode d’analyse en trois étapes (Analyses Pré Iconographique-Iconographique-Iconologique) développée par Panofsky qui montre efficacement la corrélation entre la création et la vision du monde du créateur (Welthanschaaung). Cette vision manipule les choix et les intérêts artistiques (Kunstwollen). Dans la première partie de notre thèse, nous définissons la notion d’habitus et analysons les biographies des artistes. La deuxième partie traite l’analyse des thèmes omniprésents appartenant à la religion catholique. Nous finalisons notre thèse en analysant trois films de chacun de deux réalisateurs en nous basant sur les thèmes catholiques pour comprendre les intentions des cinéastes en créant leurs œuvres (Vertigo, The Wrong Man, Marnie d’Hitchcock et Matador, Carne Tremula, Julieta d’Almodóvar) ainsi que leurs choix volontaires et instinctifsThe notion of habitus represents a complex and stable whole that profoundly influences acts, attitudes, judgements and works. The objective of our research is to clarify the effects of the Catholic habitus in the works of Alfred Hitchcock and Pedro Almodóvar, two film directors who are from different periods and cultures, but who were born and raised in practicing Catholic families and who have had an education characterized as strictly religious. Iconology or the science of images presupposes that the creation of a work of art depends on several factors that combine both the family and school education of its creator as well as his social class and the conditions of the time when the creation is realized. In this context, we use the three-step analysis method (Pre-Iconographic-Iconographic-Iconographic-Iconological Analysis) developed by Panofsky that effectively shows the correlation between creation and the creator's world view (Weltanschauung). This vision manipulates artistic choices and interests (Kunstwollen). In the first part of our thesis, we define the notion of habitus and analyse the biographies of the artists. The second part deals with the analysis of the omnipresent themes belonging to the Catholic religion. We finalize our thesis by analysing three films by each of the two directors based on Catholic themes to understand the intentions of the filmmakers in creating their works (Hitchcock's Vertigo, The Wrong Man, Marnie and Almodóvar's Matador, Carne Tremula, Julieta) as well as their voluntary and instinctive choices
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Ivarsson, Kornelia. "Blot i nutid och i populärkultur : Filmindustrins framställning kontra blot i nutida Sverige." Thesis, Högskolan Dalarna, Institutionen för kultur och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37475.
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Studien syftar till att undersöka den religiösa offerritualen blot av nutida praktise-rande, kontra filmindustrins framställning för att relatera de narrativ so m återfinnsi populärkulturen till narrativen i de berättelser som står att finna i olika historiskakällor.Till studien har en kvalitativ insamlingsmetod använts i form av intervjuer, samthermeneutisk tolkning av avsnitt ur TV serien Vikings . Fem infor manter deltog istudien. Resultaten har analyserats med paralleller till tidigare forskning, blandannat av Tomas Axelson som gjort studier om filmen som medium för existentiellafrågor, Klas av Edholm och Olof Sundqvist som belyser den fornnordiskaofferr itualen och de historiska bloten, där bland annat den kontroversiella frågan ommänniskooffer behandlas. World Value Survey undersökning kommer även attanvändas för att belysa människans syn på bland annat religion och tradition.Slutsatsen av studien visar att det finns vissa gemensamma element mellan blot inutid och i serien Vikings . Det största likheterna finns mellan bloten i Vikings och deberättelsekällor som används i studien för att belysa de historiska bloten. Studienvisar även på stora skillnader, informanterna vill inte benämnas som Asatroende.Deras praktik innehåller snarare influenser från Asatro, men även andra elementhämtade från exempelvis gammal nordisk folktro. De nutida praktiserande färgas ejav populärkulturens framställning av Asatro, dock upplever informanterna att detfinns personer med uppfattningar om blot, som påverkats av populärkulturen.Sverige är ett sekulariserat land där religionen gått från att vara offentlig till att bliav mer privat karaktär. Människors intres se för det existentiella leder till att mångavill plocka ihop sin egen religion.Via denna studie kan en tolkning vara att TVserien Vikings är mer influerad av denhistoriska berättelsen om Asatron än vad informanterna är.
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Deacy, Christopher. "Screen Christologies : an evaluation of the Christian concept of redemption and its application through film." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683160.
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Khelif, Ahmed. "Le sacré dans le cinéma arabo-musulman : un interdit ambigu." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30077/document.
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Le cinéma est né dans un univers profane où l’homme cherchait à évoluer grâce à la machine. L'origine du 7ème art n’est pas en liaison directe avec des pratiques religieuses ou cérémonielles comme pour la peinture ou le théâtre. Le cinéma n’est pas le fruit d’une expression religieuse, et pourtant le sacré n'a cessé d'y apparaître sous de multiples formes. Robert Bresson a pu, dans ses films, sacraliser le quotidien de n’importe quel homme, en construisant l’espace morceau par morceau. Dans les œuvres de Tarkovski, le sacré prend forme grâce à l'évolution du personnage, qui se dépasse petit à petit. Cependant, dans le cinéma tunisien, le sacré est essentiellement lié au religieux. Que ce soit dans les films de Nacer Khemir, de Nouri Bouzid ou encore de Ridha Behi, le sacré est construit sur un axe vertical. Il s’agit d’un sacré qui se définit – principalement - grâce au lien existant entre l’homme et son Dieu. Est-ce alors l’islamisation de la politique cinématographique dans les pays arabes qui a renforcé cette superposition du sacré et du religieux ? Comment l’arabo-musulman pourrait tracer les lignes du sacré et ses limites alors qu’il ignore ce qu’il est ?Cinema was born in a secular world where man tried to evolve through the machine. The origin of the 7th art is not connected with religious or ceremonial practices like painting or theater. The cinema is not the result of religious expression, yet the sacred has ceased to appear in many forms. Robert Bresson was able, in his films, sanctify the daily life of any man, constructing the space piece by piece. In the works of Tarkovsky, the sacred is taking shape thanks to the evolution of the character, which exceeds gradually. However, in Tunisian cinema, the sacred is essentially related to religion. Whether in films Nacer Khemir, Nouri Bouzid or Ridha Behi of the sacred is built on a vertical axis. This is a sacred that is defined - mainly - due to the relationship between man and his God. Is it then the Islamization of film policy in Arab countries reinforced this superposition of sacred and religious? How the Arab-Muslim could trace the lines of the sacred and its limits as he know what he is?
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Segall, Hayley Dawn. "1984 and Film: Trauma and the Evolution of the Punjabi Sikh Identity." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589802152696357.
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Liu, Eric Y. Stark Rodney. "Expanding the new paradigm : winners and losers among exclusive and nonexclusive religious firms in the Chinese and Japanese communities in the United States, 1850-1945 /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4004.
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Johansson, Jennie. ""I'm designed to kill" : En kritisk diskursanalys av fyra vampyrfilmer mellan 1979-2016 med hjälp av Mary Douglas teorier om renhet, orenhet och anomalier." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-36232.
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Syftet med denna uppsats har varit att analysera fyra vampyrfilmer med Mary Douglas teori för att se hur föreställningar om renhet, orenhet och anomalier framställs samt ifall dessa föreställningar har förändrats i de fyra utvalda filmerna mellan 1979-2016. Med kritisk diskursanalys som metod har filmerna Nosferatu the Vampyre (1979), The Lost Boys (1987), Twilight (2008) samt Daylight's end (2016) analyserats genom en tematisering av vampyrers egenskaper där en jämförelse dem emellan gjorts. Uppsatsens resultat visar att vampyrer som befinner sig i ett tillstånd mellan liv och död anses vara anomalier, vilka har hanterats på olika sätt av respektive samhällen. Vissa vampyrer har ett mer moraliskt förhållningssätt gentemot människor då de valt bort att äta människoblod och blir därför mer accepterade av samhället, medan andra vampyrer har ett omoraliskt beteende, vilket gör att de då elimineras. Det som anses orent i ett samhälle har blivit vardagligt i ett annat och ju mer mänskliga egenskaper vampyrerna har desto mer accepterade är de av samhället.
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Sahlström, Signe. "Konsekvenser av att fresta Jesus : En undersökning av receptionen av The Last Temptation of Christ och The First Temptation of Christ." Thesis, Jönköping University, HLK, Ämnesforskning, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53666.
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Religion in popular culture has the power to evoke strong feelings and reactions, especially if someone feels offended by it. Jesus is a person with grave importance for many, since many people in the world are Christians. However, there is not a lot that can be said with certainty about the historical person Jesus. This uncertainty leaves room for interpretation and creative freedom, which gives origin to art centered around Jesus’ life. This essay aims to examine the reactions to two different Jesus films: The Last Temptation of Christ from 1988 and The First Temptation of Christ from 2019. The purpose of the study is to explore possibilities of interpretation, similarities, and differences in the reception of these films through a study of newspaper articles, user reviews and journalistic reviews of both the films. The material used are user reviews from the website IMDb, reviews aimed at catholic readers, reviews for newspapers, reviews for websites specifically for movie reviews and newspaper articles about reactions to the two films. The material has been compared and analyzed through a description of reception research. Previous studies related to the subject of the essay includes research about religion and popular culture, religion in film, Jesus in film and research about reception and reviews. These books, essays, and dissertations include studies of the movie The Last Temptation of Christ, but not of The First Temptation of Christ. The films differ in a lot of ways: genre, language, the makers objective, and time of release. These differences make up obstacles in comparing the reception of the films, but despite this several similarities have been found. The results of the study are presented thematically; first with a presentation of the articles and reviews of The Last Temptation of Christ, then with a similar presentation of The First Temptation of Christ. After these presentations, the conclusions about similarities and differences in the reception are given followed by an analysis in which the reactions are understood to be either a dominant, negotiating or opposing interpretation of the respective film. It can be seen in the results that there are similarities in the user reviews on IMDb, where high ratings correspond to a dominant interpretation and low ratings correspond to an oppositional interpretation. Also, similarities have become apparent in the reactions of Christian critics, protesters, and religious leaders. In the concluding part I reflect about the didactic value of the essay and its material, then I reflect on the essay itself and the process of working with it.