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Journal articles on the topic 'Films religieux'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Bédard, Éric. "Ce passé qui ne passe pas. La grande noirceur catholique dans les films Séraphin. Un homme et son péché, Le Survenant et Aurore." Globe 11, no. 1 (2011): 75–94. http://dx.doi.org/10.7202/1000492ar.

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Les films de genre sont généralement un excellent reflet des valeurs dominantes d’une époque. Le genre historique peut donc constituer un terrain d’investigation fort intéressant pour qui cherche à comprendre le rapport d'une époque à son passé. Les films Séraphin. Un homme et son péché (2003), Le Survenant (2005) et Aurore (2005), qui marquent un retour des « classiques » dans le cinéma québécois, ont été analysés dans cette perspective. Ces trois films témoignent d’un rapport trouble à l’héritage religieux, toujours associé à l’idée de « Grande noirceur ». L’expérience religieuse des Canadie

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Laugrand, Frédéric, and Galo Luna-Penna. "IsumaTV, la Babel du Grand Nord." Recherches amérindiennes au Québec 43, no. 2-3 (2014): 31–47. http://dx.doi.org/10.7202/1026105ar.

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Connu pour ses films largement primés à travers le monde, Igloolik ISUMA Productions a mis en place un réseau virtuel qui, aujourd'hui, diffuse massivement, partout dans le monde, des images et des entretiens sur les questions autochtones. La compagnie a cependant des objectifs plus fondamentaux, comme ceux de se faire le porte-parole de multiples revendications contemporaines, tant sur le plan de la culture (préservation du patrimoine…) que sur celui de l'économie et des revendications (défense des droits des peuples face à l'exploitation minière, etc.). Cet article tente de montrer comment,

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3

Michelson, Annette. "The Kinetic Icon in the Work of Mourning." October 169 (August 2019): 87–104. http://dx.doi.org/10.1162/octo_a_00361.

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Among Dziga Vertov's films, Three Songs of Lenin is unique in its immediate and enduring approval within the Soviet Union. The film was commissioned for the tenth anniversary of Lenin's death and made extensive use of archival material documenting Lenin's political trajectory and his funeral. Annette Michelson offers a reading of the film's political function within the historical situation of the USSR in the 1930s, claiming that the register and scale of Three Songs of Lenin make the film a “kinetic icon” for the deceased leader. Michelson discusses similarities between religious icons and fi

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4

Meyer, Birgit. "Religious Remediations." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (2005): 155–81. http://dx.doi.org/10.1558/post.v1i2_3.155.

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This article addresses the interface of video-films and Pentecostal-Charismatic Christianity in Ghana. This interface, it is argued, needs to be examined from a position that transcends the confines of film studies and religious studies and leaves behind a secularist perspective on the relationship between religion and film. On the basis of detailed ethnographic research, it is shown that, far from standing apart from the realm of religious beliefs, video-films call upon audio-visual technologies so as to remediate Pentecostal views of the invisible world around which Pentecostal-Charismatic C

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Speelman, Gé M. "Iranian Religious Films and Inter-religious Understanding." Exchange 41, no. 2 (2012): 165–98. http://dx.doi.org/10.1163/157254312x638328.

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Abstract The article deals with two recent Iranian films, al-Masih (Teh Messiah) by Nader Talebzadeh and Maryam al-Muqaddasah (Holy Mary) by Shahriar Bahrani. Both movies are about religious characters shared by Islam and Christianity: Zechariah, Mary and Jesus. The article explores the way the filmmakers have made use of both Islamic and non-Islamic sources to tell their story, and it analyses the stylistic and narrative means they have employed. Are these films contributing to the mutual religious understanding of Christians and Muslims? If so, how? And if not, why not?

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Pick, Anat. "Film's Religious Algorithm." Paragraph 42, no. 3 (2019): 387–402. http://dx.doi.org/10.3366/para.2019.0313.

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This article explores Simone Weil's concept of ‘affliction’ and the black poetics of Saidiya Hartman and Fred Moten in relation to two nonfiction films: Artur Aristakisyan's Palms (1993) and Forough Farrokhzad's The House Is Black (1962). The films’ contentiousness springs from their provocative depictions of suffering, presented not as a social ill but as a defiant mode of being outside of institutional power. Supplanting the search for a cure with the search for salvation, the films transcend the socially-conscious logic of documentary in favour of a ‘religious algorithm’ of profound but rec

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Shreve, Adam T. "Religious Films in Zimbabwean Contexts." International Journal of Public Theology 9, no. 2 (2015): 193–211. http://dx.doi.org/10.1163/15697320-12341392.

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This article presents the author’s original research of a reception study of religious films amongst Shona peoples in the Gora and Chikara villages, which are located in the Mashonaland West Province of Zimbabwe. The two central questions of the author’s study are: First, in what ways might pre-existing Shona images of Jesus shape Shona responses to and interpretations of Jesus as he is portrayed in The Jesus Film (1979) and in indigenous, short, Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect these images of Jesus? This article addresses how indigenous, sh

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Danial Hashmi, Syed, and Saqib Gulzar. "Does Diversity Matter for Religious Firms Too? Board Gender Diversity and Corporate Choices of Shar¯ı‘ah Compliant Firms." Journal of Islamic Business and Management (JIBM) 10, no. 01 (2020): 170–87. http://dx.doi.org/10.26501/jibm/2020.1001-011.

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9

Felani, Herman, and Ida Rochani Adi. "Nasionalisme Religius dalam Film-Film Amerika dan Indonesia." Jurnal Komunikasi 17, no. 1 (2022): 97–116. http://dx.doi.org/10.20885/komunikasi.vol17.iss1.art7.

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This study aimed to examine religion-based nationalism in popular American and Indonesian films. The subjects of this research were American and Indonesian films from 1915-2020. This research used a mixed qualitative and quantitative research with content analysis approach. The findings of this study indicated that the discourse of religious nationalism was constructed in popular American and Indonesian films to carry out the practice of inclusion and exclusion of certain groups. The results of the analysis showed that religious nationalism in American films was dominated by Christian national

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Rahmatikawati, Yayan, Dadan Rusmana, and Akhmad Jauhari. "Relation Between Religion and Film: The Commodication of Quranic Verses in Indonesian Religious Films 2008-2020." International Journal of Islamic Khazanah 11, no. 2 (2021): 103–17. http://dx.doi.org/10.15575/ijik.v11i2.12029.

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This article describes the use of Quranic verses in Indonesian religious films released in 2008-2020. This study investigates Indonesian religious movies based on the Quranic verses, the contexts, and the purposes for which they are used. The theories applied on the religious films by Rachel Dwyer (2006) and relations of religion from films by Gregory J. Watkins (2008). The method used in this research is descriptive, in which the researcher interprets the religious film based on text through content analysis. The results show that there are films that use religious interpretation, such as pre

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Roche, Mark W. "Cultural and Religious Reversals in Clint Eastwood’s Gran Torino." Religion and the Arts 15, no. 5 (2011): 648–79. http://dx.doi.org/10.1163/156852911x596273.

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Abstract Clint Eastwood’s Gran Torino is one of the most fascinating religious films of recent decades. Its portrayal of confession is highly ambiguous and multi-layered, as it both mocks confession and recognizes the enduring importance of its moral core. Equally complex is the film’s imitation and reversal of the Christ story. The religious dimension is interwoven with a complex portrayal and evaluation of multicultural America that does not shy away from unveiling elements of moral ugliness in American history and the American spirit, even as it provides a redemptive image of American poten

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Sa’idah, Zahrotus. "Film Religi: Upaya Negosiasi Spiritual, Modernitas dan Komoditas." AT-TABSYIR: Jurnal Komunikasi Penyiaran Islam 7, no. 2 (2020): 334. http://dx.doi.org/10.21043/at-tabsyir.v7i2.8725.

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<p><em>Ayat-ayat Cinta (2008), Ketika CInta Bertasbih Jilid 2 (2009) and Perempuan Berkalung Sorban (2009) were considerably the most successful religious films in Indonesia. However, it attracted internal conflict behind this success particularly on producing entertaining films in one hand, and representing religious values correctly on the other hand. Therefore, this research attempts to describe as well as to systematize this problem through semiotic approach in order to negotiate between the identity, modernity, and commodity of religious films in Indonesia. Based on this resea

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Sjö, Sofia, and Andreas Häger. "Filmic constructions of the (religious) other: Laestadians, abnormality, and hegemony in contemporary scandinavian cinema." Temenos - Nordic Journal of Comparative Religion 51, no. 1 (2015): 25–44. http://dx.doi.org/10.33356/temenos.9477.

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Religious themes and characters have lately assumed center stage in a number of Scandinavian films. As with films from other parts of the world, so also in Scandinavian films a suspicion of certain religious traditions can be observed. In Scandinavian films this is not only true of traditionally foreign religions, but for some domestic religious groups as well, among them the Laestadian revival movement. In this article we analyze how this movement and its members are constructed as Other in four Scandinavian films. We theorize this ‘Othering’ with the help of Gramsci’s concept of hegemony and

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14

O'Shea, Colm. "Thomas R. Lindlof (2008) Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars." Film-Philosophy 14, no. 1 (2010): 484–89. http://dx.doi.org/10.3366/film.2010.0037.

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15

Hughes, Stephen. "Mythologicals and Modernity." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (2005): 207–35. http://dx.doi.org/10.1558/post.v1i2_3.207.

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During the 1920s mythological films provided the first Indian cinematic formula for commercial success based on this presumed all-India appeal of Hindu religious stories. This article examines the early history of mythological films as a particularly useful site for addressing questions about the complex and changing relations between media, religion, and politics. In particular, this article concentrates upon a series of significant films and debates contesting the contemporary significance of mythological films in Tamil speaking south India during the 1920s. It argues that mythological cinem

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Legg, Pamela Mitchell. "CONTEMPORARY FILMS AND RELIGIOUS EXPLORATION: AN OPPORTUNITY FOR RELIGIOUS EDUCATION." Religious Education 92, no. 1 (1997): 119–32. http://dx.doi.org/10.1080/0034408970920110.

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Valančiūnas, Deimantas. "Myth in constructing contemporary Indian identity in popular Hindi film: The case of Ashutosh Gowariker." Acta Orientalia Vilnensia 9, no. 2 (2008): 159–74. http://dx.doi.org/10.15388/aov.2008.2.3702.

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Vilnius UniversityThe present paper concentrates on particular mytho-religious symbolism and mythological structures used in two popular films by famous contemporary Indian film director Ashutosh Gowariker: Lagaan (2001) and Swades (2004). These films are significant in the history of Indian popular cinema not only for their complex problems related to the sensitive topics of anti-colonialism, nationalism and patriotism, but also for their widely used mytho-religious symbolism. My goal in this essay is to analyse these two films, identifying the mythological symbols and mythological structures

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Grodź, Iwona. "Religia i film. Stylizacje na język religijny w filmach Wojciecha Jerzego Hasa." Studia Filmoznawcze 40 (June 27, 2019): 187–200. http://dx.doi.org/10.19195/0860-116x.40.15.

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Religion and film. Stylizationson religious language in films made by Wojciech Jerzy HasThe main aim of the article is to answer the question about, how religious language functions in cinematography. It is both about specifying an aim of introducing it to a plot or narration of a film and about when it is introduced. It will be crucial to specify what goal the director attains by using religious language in his films. How important it is for the plot development. Is it connected with the will to remind the viewers about the world which does not exist currently or is it rather parodying the de

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Latifah, Latifah. "Film as Media of Religious Dialogue: The Reception of Three Indonesian Contemporary Films." DINIKA : Academic Journal of Islamic Studies 1, no. 3 (2016): 263. http://dx.doi.org/10.22515/dinika.v1i3.87.

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The paper examines the audiences response in consuming of religious representation in three Indonesian contemporary films: Ayat-Ayat Cinta (Verses of Love), 3 Doa 3 Cinta (3 Wishes 3 Loves), and Perempuan Berkalung Sorban (Woman with a Scarf Around her Neck). By examining the audiences response in media, particularly through electronic delivery, the paper shows that the public dispute of the Islam representation in this film serves as communication media of religious dialogue. The examination of audiences response on those three films illuminates the various impacts of Islamic film label embed

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20

O'Keeffe, Michael E., and Kathleen Waller. "Hollywood's Absent, Impotent, and Avenging God in the Classroom." Horizons 30, no. 1 (2003): 92–110. http://dx.doi.org/10.1017/s0360966900000062.

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ABSTRACTThe focus of this article is twofold. First, recognizing the influence of the mass media on the religious views of many undergraduate students, it examines the negative depiction of God in several popular American films and concludes that the image of God as absent, impotent and demonic ought to be addressed in the classroom. The second issue concerns the use of film in the classroom—both to encourage students to sharpen their understanding of contemporary theology, and to then use this theology as a basis for understanding and evaluating the religious messages carried by contemporary

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21

Wheatley, Catherine. "‘My heart inclines wholly to know where is the true good’: Mia Hansen-Løve's Postsecular Search for God." Paragraph 42, no. 3 (2019): 316–32. http://dx.doi.org/10.3366/para.2019.0309.

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This article explores how Mia Hansen-Løve's cinema thinks about the experience of a life in which God is absent, and yet his ghost continues to haunt us. It suggests links between her films and postsecular theory, especially deconstructions of religion by Jean-Luc Nancy and Jacques Derrida. Although Hansen-Løve's films are not ‘about’ religion in any meaningful sense of the word, religious imagery and theological allusions abound. Her cinema also displays a consistent thematic concern with vocation. The secularized vocations that Hansen-Løve's characters pursue remain bound to and by their rel

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22

Kopczyński, Krzysztof. "Religious and quasi-religious attitudes in four Polish documentaries from 2008–2019." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (2021): 139–55. http://dx.doi.org/10.14746/i.2021.39.07.

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The paper aims to present different ways of showing religious and quasi-religious attitudes in contemporary Polish documentaries. The discussion is based on four feature-length films: Kites by Beata Dzianowicz (2008), Communion by Anna Zamecka (2016), Who Will Write Our History by Roberta Grossman (2018), and Tell No One by Tomasz Sekielski (2019). The author evaluates the methodological usefulness of reflection in the documentary of the “religious film” category used in Polish research and the concept of “transcendent(al) style” taken from Paul Schrader’s book. Occasionally touching upon the

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Piskorska, Anna Maria. "Poświęcić niepewność – prolegomena do badań nad kinem postsekularnym." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (2021): 47–66. http://dx.doi.org/10.14746/i.2021.39.03.

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This article undertakes the issue of defining film phenomena which put forward questions of a primary religious nature (about the meaning of life, source of evil, life after death, the existence of Absolute, etc.) in a way that is independent from major religious traditions. The author posits that describing this phenomenon in the case of European film culture is done best by employing the philosophical thought of postsecularism. Utilizing Mieke Bal’s method of cultural analysis, the author takes as an example the term “sacrifice” to point to the existence of different models by which religiou

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Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 2 (2013): 1–3. http://dx.doi.org/10.5195/cinej.2013.75.

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This issue of CINEJ deals with approaches to films from different parts of the world ranging from India and China to Italy and Canada. Detailed analyses on films about Ghandi, docufictions on New York City, reflections of contemporary terror in historical cinema, Chinese Soft Film Movement, road movies, religious identification in films, documemory, Italian neorealism and female performance in Canadian cinema are presented in this issue.

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Angeli, Silvia, and Francesco Sticchi. "A Miraculous Materialism: Lines of Flight inWe Have a PopeandCorpo Celeste." Film-Philosophy 25, no. 1 (2021): 1–17. http://dx.doi.org/10.3366/film.2021.0154.

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This article considers Nanni Moretti's We Have a Pope ( Habemus Papam, 2011) and Alice Rohrwacher's Corpo Celeste (2011) via the notion of lines of flight as developed by Gilles Deleuze and Félix Guattari. We argue that, in spite of stylistic and thematic differences, the two films present clear similarities since they highlight and address conflicts and tensions existing within the contemporary Catholic religious order. Both films present cracks and horizons of becoming within the institutionalised Catholic Church, tracing possible paths of transformation for viewers aligning with and followi

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Sorlin, Pierre. "Cinéma et religion dans l'Europe du XXe siècle." Journal of Modern European History 3, no. 2 (2005): 183–204. http://dx.doi.org/10.17104/1611-8944_2005_2_183.

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Film and Religion in 20th Century Europa The article focuses on the conflict zones and compromises of the ambivalent relationship which developed between film and religion in Europe. European film production was more reluctant than Hollywood to treat Biblical themes; on the other hand, the Christian Churches oscillated between damning, controlling and producing their own films. Their censorship and criticism were frequently the occasion of stormy internal debates about Church strategy toward the decline of traditional religiosity. Subjects such as the position and role of the pastor in his con

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Simard, Jean. "Prêtres et religieux, collecteurs d’images ethnographiques." Domaines d'action I (Canada français), no. 24-25-26 (October 31, 2013): 290–302. http://dx.doi.org/10.7202/1019139ar.

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Dès le xviie siècle, des prêtres missionnaires venus de France, tels les jésuites Claude Chauchetière et Louis Nicolas, illustrent les moeurs et coutumes des peuples autochtones de la vallée du Saint-Laurent. Au xixe siècle, des prêtres séculiers et des oblats, particulièrement Norbert Blanchet, Albert Lacombe et Émile Petitot, utilisent à leur tour le crayon et le pinceau pour enseigner aux autochtones de l’Ouest canadien les bases de la foi catholique. Au xxe siècle, la photographie et le cinéma prennent la relève. Albert Tessier (1895-1976) et Maurice Proulx (1902-1988) sont prêtres tous le

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MOHAMAD RASIT, ROSMAWATI, MUHAMAD FAISAL ASHAARI, and SALASIAH HANIN HAMJAH. "The Application of Laswell Communication Model on The Good Message Within Religious Malay Films." Ulum Islamiyyah 33, no. 1 (2021): 17–30. http://dx.doi.org/10.33102/uij.vol33no1.273.

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The general public perceives film as the factor that encourages negativity in the behaviour of its audience. However, through the perspective of film studies, the film can serve as the means to convey a good message. However, more in-depth reviews need to be done to attest to its capability in doing so. Therefore, using Laswell Communication Model (1948), this study was carried out to examine the good messages from religious Malay films. This study used qualitative content analysis design. by using purposive sampling, the researcher chose four Malay films as the subjects in this film study. Th

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Magerstädt, Sylvie. "From Impulse to Action—Noah (2014) and Exodus: Gods and Kings (2014) as Secular Bible Epics." Religions 12, no. 11 (2021): 1025. http://dx.doi.org/10.3390/rel12111025.

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Several large-scale Bible epics have been produced in the decade after the revival of epic cinema at the turn of the millennium. Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s Noah (2014) and Ridley Scott’s Exodus:Gods and Kings (2014) stand out due to their broader epic appeal and religious skepticism. Using Gilles Deleuze’s concepts of the impulse-image and the action-image as framework, this article analyses some of the nuances and complexities of both films. It argues that although both films offer scale and spectacle consisten

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Sjö, Sofia. "The Gendering of Pastors in Contemporary Nordic Films: Norms, Conventions and Contemporary Views." Religion and Gender 5, no. 1 (2015): 91–104. http://dx.doi.org/10.18352/rg.10084.

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The article examines how Lutheran pastors are gendered in six well-known Nordic films. Building on the theory of mediatisation of religion, the study argues for the need to look at how media shapes religion and gender for a thorough understanding of views on religion today. The film analyses show a connection between female pastors and less problematised forms of religion, but also traditional ways of undermining women in films. The films are argued to present a problematised religious view on sexuality, mostly connected to male pastors. Both aspects of gendering religion are tied to larger de

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Černík, Jan. "The Sistine Chapel in The Two Popes." Studia theologica 24, no. 4 (2023): 151–73. http://dx.doi.org/10.5507/sth.2022.038.

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Macarthur, David. "A Vision of Blindness:Blade Runnerand Moral Redemption." Film-Philosophy 21, no. 3 (2017): 371–91. http://dx.doi.org/10.3366/film.2017.0056.

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Despite its oft-noted ambiguities, critical reception of Ridley Scott's Blade Runner (Theatrical Cuts (1982); Director's Cut (1992); Final Cut (2007)) has tended to converge upon seeing it as a futuristic sci-fi film noir whose central concern is what it means to be human, a question that is fraught given the increasingly human-like replicants designed and manufactured by the Tyrell Corporation for human use on off-world colonies. Within the terms of this way of seeing things a great deal of discussion has been devoted to putative criteria of being human and the question whether the once-retir

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Nugroho, Sri Nugroho. "PETITION AS INDONESIAN FILM’S ROBBER: Theodor Adorno’s Perspective on Majority-Leaning Group’s Criticisms." Capture : Jurnal Seni Media Rekam 13, no. 1 (2021): 1–16. http://dx.doi.org/10.33153/capture.v13i1.3631.

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Filmmakers have felt the impact of numerous films that have been petitioned or rejected by groups acting in the majority’s interests. The groups carry religious issues and view films as a new force capable of undermining the values (dogma) they believe. The views were infiltrated by efforts to homogenize discourses for a particular purpose rather than pure objectivity, resulting in petitions opposing certain films. In this regard, Adorno’s perspective on the revolutionary objective basis leads to the eradication of critical thinking against individuals associated with capitalism. The term “cap

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GOLOVNEVA, ELENA V., and IVAN A. GOLOVNEV. "SOVIET ANTI-RELIGIOUS FILM. “SECTARIANS” BY VLADIMIR KOROLEVICH (1930)." Study of Religion, no. 3 (2021): 151–59. http://dx.doi.org/10.22250/2072-8662.2021.3.151-159.

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The article examines a unique phenomenon of Soviet cinema - the anti-religious film of the 1920s-1930s - a question insufficiently explored in humanitarian historiography so far. Being an organic part of the “cultural revolution”, on the one hand, anti-religious films of this period acted as an effective tool for the propaganda of the Soviet state in the fight against both the official church and manifestations of everyday religiosity. On the other hand, their creation was accompanied by detailed theoretical and methodological recommendations on the forms of interaction of party propagandists

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Basu, Priyanka. "Unveiling the Forbidden: Exploration of the Uncanny ‘Other’ in Bollywood Films." International Journal of English and Comparative Literary Studies 2, no. 3 (2021): 31–44. http://dx.doi.org/10.47631/ijecls.v2i3.254.

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The paper explores how multiple personality disorder and schizophrenia are represented in selected Hindi films (Karthik Calling Karthik. Bhool Bhulaiyaa, Aparichit, Madhoshi) and how they affect the attitudes of the common people. Psychoanalytic theory is employed to analyze the concept of mental illness as depicted in these films. The protagonist in the films is a sufferer of either multiple personality disorder, schizophrenia, or mental illness, and these psychological states are central themes. After analyzing the films, it could be stated that Bollywood has moved beyond presenting religiou

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Supriansyah, Supriansyah. "REPRESENTASI LIQUID RELIGION KELAS MENENGAH MUSLIM DALAM FILM ISLAMI PASCA ORDE BARU." Khazanah: Jurnal Studi Islam dan Humaniora 17, no. 1 (2019): 53. http://dx.doi.org/10.18592/khazanah.v17i1.2689.

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The main focus of this article is the construction of the middle class Muslims through representation and images in the form of Islamic films. Representations and simulations are used to maintain and strengthen the position of the middle class in Muslim societies. In the era of liberal capitalism, spectacle media is the most popular medium of society. The image is the main value in the media, which disturbs the society of capitalism to smooth the agenda of capitalism and consumerism. The main question in this article is how the representation and simulation of Islam is from the middle class Mu

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du Plooy, Belinda. "Sacred Subtexts: Depictions of Girls as Christ Figure and Holy Fool in the Films Moana and Whale Rider." Feminist Theology 30, no. 1 (2021): 85–103. http://dx.doi.org/10.1177/09667350211031152.

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Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my disc

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Sun, Zhentao. "How Do Working-Class People in China Comment on Chinese-Language Buddhist Films?" Religions 13, no. 12 (2022): 1162. http://dx.doi.org/10.3390/rel13121162.

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The dissemination and acceptance of Chinese-language Buddhist films in China have not yet received much attention. This paper takes four Chinese-language Buddhist films as samples to analyze the Buddhist doctrines they contain and how they are reviewed by the Chinese working class. It points out that most Chinese working-class people are not Buddhists, their knowledge of Buddhist doctrines is relatively small and shallow, and they rely on their daily life experiences when enjoying Buddhist films, so they cannot understand Buddhist doctrines in Buddhist films that are too difficult or contrary

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Citko, Ewa Katarzyna. "Transcendent Images and Semina Verbi in Carlos Reygadas’ Films." Rocznik Teologii Katolickiej 20 (2021): 191–212. http://dx.doi.org/10.15290/rtk.2021.20.12.

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This article is an analytical and interpretive reading of the Mexican film director Carlos Reygadas’ work in light of “semina Verbi” (seeds of the Word). In his films, Reygadas explores the alienation and confusion that man, who has rejected traditional values and faith in God, experiences in the modern world. At the same time and like his characters, Reygadas seeks transcendence and the possibility of spiritual rebirth. His films are not strictly religious, but they do contain faint echoes the Gospel or semina Verbi, meaning “seeds of the Word” that are present in non-Christian cultures and s

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Xavier, Zachary. "The Kierkegaardian Existentialism of Richard Linklater's Before Trilogy." Film-Philosophy 25, no. 2 (2021): 110–29. http://dx.doi.org/10.3366/film.2021.0164.

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This article examines the Kierkegaardian existentialism set in motion by Richard Linklater's Before trilogy: Before Sunrise (1995), Before Sunset (2004), and Before Midnight (2013). In doing so, it asserts the efficacy of cinema as a medium of existential import, one that is particularly suited to give form to Søren Kierkegaard's project. The identification of three existential stages of life – the aesthetic, ethical, and religious – is perhaps Kierkegaard's most notable contribution to philosophy. This article contends that Linklater's aesthetic strategy – namely, his distinctive use of long

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Walsh, Richard. "The Gospel According to Judas: Myth and Parable." Biblical Interpretation 14, no. 1-2 (2006): 37–53. http://dx.doi.org/10.1163/156851506776145832.

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AbstractJesus films improve the Judas story by adding plot connections and amplifying Judas' character, but their Judases reprise "the Gospel according to _" pattern. Like Jewison's Judas, they all are part of the adoring Christian chorus. Films' selective uses of the gospel Judas incidents intensify the gospel exclusions. Judas remains the traitorous disciple who deserves his fate. Films' visuals continue the iconography of art and create interlocking scenes associating Judas with Jesus' opponents. While some films motivate Judas traditionally, others modernize Judas' motivation in order to c

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Noble, Ivana, and Tim Noble. "Christ Images in Contemporary Czech Film." Journal of Reformed Theology 1, no. 1 (2007): 84–106. http://dx.doi.org/10.1163/156973107x182659.

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An analysis of two important Czech films dealing, hesitantly, with Christological themes enables an engagement with contemporary Czech society. The two films, Forgotten Light and Divided We Fall occasion reflections on Christ's triple office of Priest, Prophet and King and the continuing power of the Christ story in popular Czech culture. This leads to an interpretation of the films and their messages, set against the backdrop of religious life in the Czech Republic as demonstrated in sociological research. Theologians can learn with the filmmakers how to address the new religiosity present in

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Masriani, Masriani, Dina Liana, and Syarifudin Syarifudin. "Analisis Pembentukan Moral dalam film Animasi Anak sebagai Tayangan Pendidikan." Mitra PGMI: Jurnal Kependidikan MI 7, no. 2 (2021): 136–49. http://dx.doi.org/10.46963/mpgmi.v7i2.365.

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This study aimed to analyze and describe the moral values contained in the animated films of Adit and Sopo Jarwo, Nussa and Rara, and the cartoons Upin and Ipin. This research was qualitative descriptive research using samples of the animated Nussa and Rara, and the cartoon Upin Ipin. The data in this study contained religious and moral values. This study described that there were a lot of positive things in the form of habituation of religious and moral values in the form of etiquette before going to bed, eating etiquette, saying bismillah, alms, maintaining cleanliness, doing good deeds,

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Yu, Chi-Ying. "The Appearance and Resonance of Apocalyptic Archetypes in Contemporary Disaster Films." Religions 12, no. 11 (2021): 913. http://dx.doi.org/10.3390/rel12110913.

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The COVID-19 pandemic has roused the apocalyptic fear that was foreseen in religious prophecies. This research will focus on the post-9/11 and pre-COVID-19 disaster films, in an attempt to understand the representation and pre-presentation of the collective disaster psychology. Aligned with Jungian film studies, this essay regards films as a convergence of generations’ collective unconscious. Apocalypse may as well be considered the psychic archetypes that emerge in our civilization in the name of religion. This essay aims to construe the ways that apocalyptic archetypes appear and are elabora

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Mansour, Dina. "Egyptian film censorship." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 21–36. http://dx.doi.org/10.33178/alpha.4.02.

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Films are a representation and manifestation of culture; yet, since the early days of filmmaking public debates have questioned whether “the motion picture industry was morally fit to control the content of its own products” (Robichaux). Today, the Arab world is plagued by the same dilemma. In a region where government censorship is the norm, heavy restrictions are imposed on locally produced films as a means of “safeguarding” public norms, religion and culture. Also problematic in today’s globalised world is the influx of foreign films into local markets, which not only defy public norms, but

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Gustafsson, Tommy. "I sekulariseringens skugga. Manlighet och religiös tematik i svensk och amerikansk 1920-talsfilm." Tidskrift för genusvetenskap 29, no. 3-4 (2022): 91–114. http://dx.doi.org/10.55870/tgv.v29i3-4.3796.

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There existed a great ambivalence concerning masculinity and its relationship to religion in the decades around the last turn of the century. The historical encoding process of religion, from gender neutral to feminine, has in general been interpreted as something solely negative for the constitution of masculinity during this period. Consequently, religious encoded masculinities have been deemed as deviations from the norm; as a negative feminisation. This assumption does not consider secularisation as an ongoing process, instead taking secularisation for granted when in fact Christianity and

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Ручкин, С. Е., Ю. С. Жидик, Ю. Н. Юрьев, А. А. Рунц, Е. Д. Гончарова та А. В. Юрьева. "Исследование оптических и фотокаталитических свойств пленок оксида титана разной степени окисления". Письма в журнал технической физики 48, № 17 (2022): 33. http://dx.doi.org/10.21883/pjtf.2022.17.53285.19150.

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The results of studies of the optical and photocatalytic properties of titanium oxide films deposited by vacuum-arc evaporation in an oxygen-containing atmosphere are presented. It was experimentally shown that films of different degrees of oxidation are formed during deposition, depending on the amount of oxygen flow entering the working chamber. The results of studies of the obtained films showed that the films obtained in a transitional mode between the deposition of metallic Ti films and dielectric TiO2 films have the maximum photocatalytic activity. This deposition mode is observed at the

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박종수. "The Historical Changes and Characteristics of Korean Religious Films." Korean Journal of Arts Studies ll, no. 13 (2016): 197–218. http://dx.doi.org/10.20976/kjas.2016..13.009.

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Krings, Matthias. "Muslim Martyrs and Pagan Vampires." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (2005): 183–205. http://dx.doi.org/10.1558/post.v1i2_3.183.

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In December 2000 the government of Kano State in Muslim northern Nigeria reintroduced shari’a and established a new board for film and video censorship charged with the responsibility to “sanitize” the video industry and enforce the compliance of video films with moral standards of Islam. Stakeholders of the industry took up the challenge and responded by inserting religious issues into their narratives, and by adding a new feature genre focusing on conversion to Islam. This genre is characterized by violent Muslim/pagan encounters, usually set in a mythical past, culminating in the conversion

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Bakker, Freek. "The Image of Jesus Christ in the Jesus Films Used in Missionary Work." Exchange 33, no. 4 (2004): 310–33. http://dx.doi.org/10.1163/1572543042948277.

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AbstractThis article starts with a short introduction to the history of films about Jesus Christ. These were already produced in 1897, within two years of the first ever showing of any film. At first the churches seemed to react positively, but later their attitude reversed. Later yet the churches changed their minds again. Since 1979 the concept of translating the gospel into film language gained an increasing adherence. The theological portraits of Jesus in the two films most used in missions and missionary work are analysed. Furthermore the impact of these films is dealt with.

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