Apocalypse and Eschatology in John Ford's The Grapes of Wrath (1940)
John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experien...
| Published in: | The journal of religion and film |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
2020
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| In: |
The journal of religion and film
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| Standardized Subjects / Keyword chains: | B
The grapes of wrath
/ World economic crisis (1929-1932)
/ Eschatology
/ The plow that broke the plains
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| RelBib Classification: | AB Philosophy of religion; criticism of religion; atheism NBQ Eschatology |
| Further subjects: | B
Interpretation of
B Expressionism B Apocalypse B Fitting B Dust Bowl B History B Great Depression B Eschatology B Photography B Apocalyptic B Convention B Vision B Genre B John Ford B next age B Pare Lorentz B documentary B Farm Security Administration B Hope |
| Online Access: |
Volltext (kostenfrei) |
| Summary: | John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène. |
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| ISSN: | 1092-1311 |
| Contains: | Enthalten in: The journal of religion and film
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