T&T Clark Companion to the Bible and Film

Intro -- Title Page -- Copyright Page -- Contents -- List of Figures -- List of Contributors -- Introduction:Biblical Film Studies -- Biblical film? -- Why Bible and film? -- Whither biblical film scholarship? -- The essays -- Notes -- Works cited -- Part 1: Contexts -- Chapter 1: Apocalypse Noir: T...

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Bibliographic Details
Main Author: Walsh, Richard
Format: Electronic Book
Language:English
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Check availability: HBZ Gateway
Published: London Bloomsbury Publishing PLC 2018
Series/Journal:Bloomsbury Companions Ser
Further subjects:B Bible In motion pictures
B Bible films History and criticism
Online Access: Volltext (Aggregator)
Parallel Edition:Print version: Walsh, Richard: T&T Clark Companion to the Bible and Film. - London : Bloomsbury Publishing PLC,c2018. - 9780567666208
Description
Summary:Intro -- Title Page -- Copyright Page -- Contents -- List of Figures -- List of Contributors -- Introduction:Biblical Film Studies -- Biblical film? -- Why Bible and film? -- Whither biblical film scholarship? -- The essays -- Notes -- Works cited -- Part 1: Contexts -- Chapter 1: Apocalypse Noir: The Book of Revelation and Genre -- Apocalypse awakes -- Apocalyptic awareness -- Ascribing apocalypse -- Summary -- Noir knowing: Film noir and neo-noir -- That noir feeling -- Blatant blinds and scripted sax -- Seething sex and violence -- Refracted femme fatales -- Summary -- Affective apocalyptic -- Seeing composite -- Rampant reveal and conceal -- Fixing perceptions: The destruction of the world -- A different apocalypse -- Conclusion -- Notes -- Works cited -- Chapter 2: Counting Errors or Understanding Filmic History: Historiophoty and Bible Films -- Filmmakers as historians -- Film genres of the biblical film -- Conclusion -- Notes -- Works cited -- Chapter 3: In the Creator's Image: Divine and Mundane Self-Reproduction in Science-Fiction Films -- Nonhuman creator(s), human creatures -- Human creators, mechanical creatures -- Human creators, human creatures -- Mirror images? -- Notes -- Works cited -- Chapter 4: Murderous Archaeologists, Doubting Priests, and Mesopotamian Demons: The Bible in Horror and Adventure Cinema -- Notes -- Works cited -- Chapter 5: Comedic Films and the Bible -- Comedic movies derived from the Bible -- Comedic movies that reference the Bible -- Conclusion -- Works cited -- Chapter 6: The First Seventy Years of Jesus Films: A Canonical, Source-Critical History -- The "pre-canonical" era of Jesus movies (1906-13) -- The "canonical" era of Jesus movies (1927-65) -- Beyond the biopic canon -- Conclusion -- Notes -- Works cited -- DVDs referenced -- Chapter 7: Justice, Empire, and Nature
Justice and deliverance: Park Chan-wook's vengeance trilogy (South Korea) -- Empire and covenant: Three historical epics (China) -- Nature as new creation: The divine vision of Hayao Miyazaki (Japan) -- Conclusion -- Notes -- Works cited -- Chapter 8: Biographical Approaches to Jesus Films: Prospects for Bible and Film -- Biographies of films/making the case -- The Social Lives of Things/biographical precedents -- Toward a social life of a Jesus film/a case study -- Conclusion -- Notes -- Works cited -- Chapter 9: Frames and Borders in Deuteronomy and Films on the Palestinian-Israeli Conflict -- Frame-brakes and framing reality -- Frames and borders -- Conclusion: Territory and tradition -- Note -- Works cited -- Chapter 10: "Blessed Are the Peacemakers": The Deployment of Jesus in American and German Cinema During and After the First World War -- Intermission: America 1918: Love your enemies (but not too much) -- Germany 1923: Those who live by the sword -- Notes -- Works cited -- Chapter 11: German Jesus Movies -- Actualizations: Pilatus und andere and Jesus Cries -- The Second Coming: Das Geheimnis, Jesus liebt mich, and Shorts -- Blasphemous interventions: Das Gespenst and Jesus-Der Film -- Conclusion -- Notes -- Works cited -- Chapter 12: Once Upon a Time in the West . . . T hThe Fate of Religion, the Bible, and the Italian Western -- The "Moment" of the Italian Western -- The first stage of capitalist transformation -- The second stage of capitalist transformation -- Concluding remarks -- Notes -- Works cited -- Part 2: Theories -- Chapter 13: A Return to Form: Bible, Film Theory, and Film Analysis -- Reading for the plot -- Formalism and poetics -- Notes -- Works cited -- Chapter 14: Seven Stations of Affect: Religion, Affect, and Mel Gibson's The Passion of the Christ -- First station: Affect and the embodied mind
Second station: Affect, religion, and film -- Third station: Rituals and gatherings -- passion plays and public morals -- Fourth station: Toward a critical, affective film theory -- Fifth station: Seeing is believing: The embodied, affective eye -- Sixth station: Cutting Jesus -- Seventh station: Feeling terrible: The passion and/as horror -- Final credits -- Notes -- Works cited -- Chapter 15: Rock Me Sexy Jesus?: Gender and Sexuality in Biblical Films -- Ecce Homo, Ecce Hero -- Angels in the movie house -- Good heterosexual families and queer deviant villains -- Ethnicity and perversity -- Concluding thoughts -- Notes -- Works cited -- Chapter 16: "Sooner Murder an Infant in Its Cradle": Wisdom and Childlessness in The Sweet Hereafter -- Notes -- Works cited -- Chapter 17: Son of Man: A Case Study in Translation, Postcolonialism, and Biblical Film -- Son of Man: Opening credits -- Where credit is due -- The opening scene -- Jesus speaks Xhosa -- The contest for the world -- Son of Man and postcolonial critique -- Notes -- Works cited -- Chapter 18: American Slavery, Cinematic Violence, and the (Sometimes) Good Book -- Violence and representation -- Tarantino's splatter comedy -- McQueen's artistic rumination -- Parker's conventional melodrama -- Conclusion -- Notes -- Works cited -- Chapter 19: Deleuze on Film, and the Bible -- The cinema books -- Simulation and the real -- Schizoanalysis and the Bible -- Conclusion -- Works cited -- Chapter 20: There's a New Messiah in Town: The Messianic in the Western -- The messianic -- There is a new messiah in town: The messianic in/and the American Western -- The outlaw messiah: Shane -- Indians in/as messianic challenge to empire: The Revenant -- Messiahs outside the law -- Notes -- Works cited -- Chapter 21: Lars von Trier's Dogville as a -- Subverting conventional wisdom
Experience-taking, character identification, and transformation -- Conclusion: Dogville and the Sheep and the Goats -- Notes -- Works cited -- Part 3: Texts -- Chapter 22: Can We Try that Again?: The Fate of the Biblical Canon on Film -- The early silent era: From the birth of cinema through to the first feature length Bible films (From the Manger to the Cross [1912] and Judith of Bethulia [1914]) -- The late silent era: From Intolerance to the end of the silent era9 -- The early sound era-From the first "talkies" to early 1949 -- The Golden Era: From Samson and Delilah to The Bible -- Experimental era: 1967-89 -- The canon around the millennium (1990-2004) -- The contemporary period: From The Passion of the Christ to today -- Conclusions -- Notes -- Works cited -- Chapter 23: Reversing the Hermeneutical Flow: Noah's Flood in Recent Hollywood Films -- Noah's flood (Gen. 6:5-9:28) -- Cinematic treatments -- Noah (2014) -- Evan Almighty (2007) -- Moonrise Kingdom (2012) -- Reversing the hermeneutical flow -- Notes -- Works cited -- Chapter 24: A Genre(s) Approach to The Prince of Egypt -- Biblical adaptation -- Bildungsroman -- Epic -- Myth -- Conclusion -- Notes -- Works cited -- Chapter 25: "What Child Is This?": Reflections on the Child Deity and Generic Lineage of Exodus: Gods and Kings -- What child is this? Child deities and messengers -- What child is this? What a brat we have in Malak -- What child is this? Modern fears of the uncanny -- What child is this? The film as biblical epic and Scott film -- Summation -- Notes -- Works cited -- Chapter 26: "What Shall We Do with the Tainted Maiden?": Film Treatments of the Book of Esther -- Feature films of Esther -- Background context -- How the narrative ends -- Esther -- The theme of the story -- Summary -- The art film Esther -- Background context -- How the narrative ends -- Esther -- Theme
Conclusion -- Notes -- Works cited -- Chapter 27: Desert Tales: Mark and Last Days in the Desert -- A desert tale -- The place of light and shadows -- The time of quarantine -- Borderlands -- Conclusion: Desert, desertion, delirium, destruction, delight -- Notes -- Works cited -- Chapter 28: A Revolutionary Passion Film: Giovanni Columbu's Su Re (The King) -- Jesus as the Suffering Servant of Yahweh -- Evocation of the oral tradition -- The influence of a kindred spirit -- The violence of the passion -- Questions of style and technique -- Jesus and his passion as mystery -- The mystery of the resurrection -- Conclusion -- Notes -- Works cited -- Chapter 29: A Deadly Daughter?: Salome's Cinematic Afterlife -- Saving Salome (1953) -- Saura's Salomé (2002) -- Conclusion -- Notes -- Works cited -- Chapter 30: Belief Is in the Eye of the Spectator: Beholding the Other Actor's Reaction -- Notes -- Works cited -- Chapter 31: Ben-Hur (2016): Jesus Finds a Voice -- Scene 1: Jesus the carpenter speaks to Ben-Hur about love of neighbor -- Scene 2: Jesus offers a cup of water to Judah -- Scene 3: Jesus of Nazareth interrupts the stoning of a man -- Scene 4: Jesus is arrested by the Jewish authorities -- Scene 5: Judah offers Jesus a cup of water as he is led away to be crucified -- Scene 6: Jesus of Nazareth's sayings from the cross -- Notes -- Works cited -- Filmography -- Film Index -- Modern Author Index -- Scripture Index
Item Description:Includes bibliographical references and indexes -- Includes filmography
ISBN:0567666212