The Politics of a Mel-placed Passion and Displaced Bodies
Gibson's Christ has a body, and a body of hope at that. However, this Christ is little more than a bare body, a body made naked without its without a full covering of life (or rather it is a body reduced to barest life), and therefore a body that lacks the multiple extensions in space and time...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
University of Saskatchewan
[2007]
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| In: |
Journal of religion and popular culture
Year: 2007, Volume: 15, Issue: 1 |
| Online Access: |
Volltext (Resolving-System) Volltext (doi) |
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| 520 | |a Gibson's Christ has a body, and a body of hope at that. However, this Christ is little more than a bare body, a body made naked without its without a full covering of life (or rather it is a body reduced to barest life), and therefore a body that lacks the multiple extensions in space and time that characterise bodies and their being available to and for other bodies. This paper seeks to trace Gibson's series of losses and their political implications, three of which are not only particularly important but are interdependent. Drawing metaphorically on the terms of the C4th Trinitarian theologies, this is argued to constitute something of a deadly tri-unity of threefold bodylessness, a perichoretic (interdependent co-inherence) perversity which triply enforces the terror against bodily (con)textuality. This sense of bodily loss flows directly from the nature of the abstraction involved in the film's selected focus, and manifests itself triunely in the "Jewish-problem"; the life of the Christ; and the nature of the saving achieved by the sufferings of the condemned Jesus. | ||
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