Contents Info

Dreams, doubt, and dread : the spiritual in film

서명/저자: Dreams, doubt, and dread : the spiritual in film / edited by Zachary Settle and Taylor Worley ; foreword by Robert K. Johnston ; afterword by Gregory Alan Thornbury

내용주기: Introduction: Thinking how film feels Taylor Worley and Zachary Thomas Settle -- Dreams -- All secrets and darkness: the profoundly prophetic witness of David Lynch by David Dark -- Leaving earth to find home Eric Kuiper -- The impossibility of the black hero: James Baldwin and the cinematic by Zachary Thomas Settle -- Roundtable on dreams -- Doubt -- A cinema of second chances: doubt, realism, and Bergman's "Silence of God" trilogy Michael Leary -- Indispensable doubts, embodied hope: Tarkovsky's Andrei Rublev Joseph G. Kickasola -- Betraying the medium: the doubt in mass appeal Crystal Downing -- Roundtable on doubt -- Dread -- Beyond death?: Alejandro González Iñárritu's grief trilogy -- Aesthetics of the "made": exuberant authenticity in the films of Wes Anderson Kathryn Reklis -- Lacanian psychoanalysis and cinematic eschatology: a not-so-theologically-correct meditation on Jeff Nichols's Take shelter by Carl Raschke -- Roundtable on dread.

초록/해제: 요약 :Films are modern spiritual phenomena. They function as such in at least three profound ways: world projection, thought experiments, and catharsis (i.e., as dreams, doubt, and dread). Understanding film in this way allows for a theological account of the experience that speaks to the religious possibilities of film that far extend the portrayal of religious themes or content. Dreams, Doubt, and Dread: The Spiritual in Film aims to address films as spiritual experiences. This collection of short essays and dialogues examines films phenomenologically--through the experience of the viewer as an agent having been acted upon in the functioning of the film itself. Authors were invited to take one of the main themes and creatively consider how film, in their experiences, has provided opportunities for new modes of thinking. Contributors will then engaged one another in a dialogue about the similarities and differences in their descriptions of film as spiritual phenomena. The intended aim of this text is to shift contemporary theological film engagement away from a simple mode of analysis in which theological concepts are simply read into the film itself and begin to let films speak for themselves as profoundly spiritual experiences.