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...
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
| Verfügbarkeit prüfen: | HBZ Gateway |
| Journals Online & Print: | Lade...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Veröffentlicht: |
2020
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| In: |
The journal of religion and film
Jahr: 2020, Band: 24, Heft: 1, Seiten: 1-25 |
| normierte Schlagwort(-folgen): | B
The grapes of wrath
/ Weltwirtschaftskrise (1929-1932)
/ Eschatologie
/ The plow that broke the plains
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| RelBib Classification: | AB Religionsphilosophie; Religionskritik; Atheismus NBQ Eschatologie |
| weitere Schlagwörter: | B
Expressionism
B Apocalypse B Dust Bowl B History B Interpretation 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 |
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Volltext (kostenfrei) |
| Zusammenfassung: | 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 |
| Enthält: | Enthalten in: The journal of religion and film
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