God Is Time; The Devil Rules over Space: Theological Reflections on Val Del Omar’s Recrudescence of Berruguete in Fire in Castile
This article explores José Val del Omar’s religious thought in relation to his Fire in Castile, a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2024
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| In: |
Religion and the arts
Year: 2024, Volume: 28, Issue: 3, Pages: 321-336 |
| Further subjects: | B
saturated phenomena
B experimental film B temporality of God B Jean Luc Marion B Alonso Berruguete B theology and cinema B afterlives of artworks B dematerialization B José Val del Omar B religious existentialism |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | This article explores José Val del Omar’s religious thought in relation to his Fire in Castile, a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and technological mystical encounter: Fire in Castile displaces the viewers’ physical space to create a transcendental and sacred opening, in turn activating the affective role of the sculptures. This essay seeks to contextualize the film in relation to a core theological notion in Val del Omar’s thought, the interlacing of God and time: “God is Time,” he wrote, “the devil rules over space.” For Val del Omar, this is a tragic situation in which God is waiting for us in the entrails of life, which in turn demands a visceral disruption of our spatiotemporal and existential assumptions. |
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| ISSN: | 1568-5292 |
| Contains: | Enthalten in: Religion and the arts
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| Persistent identifiers: | DOI: 10.1163/15685292-02803003 |
