Playing with Paradigms: The Christ-figure Genre in Contemporary Film
As many commentators have noted, numerous mainstream films feature a plot line loosely based on the Gospel narrative and a protagonist who has some Christ-like features. This paper will argue that in many films the Christ-figure motif is not a minor element; rather, Christ-figure films constitute a...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
AASR
[2008]
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| Dans: |
Australian religion studies review
Année: 2008, Volume: 21, Numéro: 3, Pages: 298-317 |
| Accès en ligne: |
Volltext (Resolving-System) Volltext (doi) |
| Édition parallèle: | Électronique
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| Résumé: | As many commentators have noted, numerous mainstream films feature a plot line loosely based on the Gospel narrative and a protagonist who has some Christ-like features. This paper will argue that in many films the Christ-figure motif is not a minor element; rather, Christ-figure films constitute a genre in their own right. This paper will provide a brief overview of the Christ-figure film, as illustrated by The Shawshank Redemption (1994), and then engage in an analysis of two movies - the Quebecois film C.R.A.Z.Y. (2005) and the American film Stranger than Fiction (2006) - that explicitly and humorously demonstrate the interplay of convention and innovation, familiarity and novelty that is the salient characteristic of the genre film. |
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| ISSN: | 1744-9014 |
| Contient: | Enthalten in: Australian religion studies review
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| Persistent identifiers: | DOI: 10.1558/jasr.v21i3.298 |