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...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Published: |
[publisher not identified]
2020
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In: |
The journal of religion and film
Year: 2020, Volume: 24, Issue: 1, Pages: 1-25 |
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 Dust Bowl B History B Great Depression B Eschatology B Photography B Apocalyptic B Convention B Vision B Montage 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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