By Adele Reinhartz
It is a finished advent to the ways that the Bible has been used and represented in mainstream cinema. Adele Reinhartz considers the pervasive use of the Bible in function movies, and the medium of movie as a part of the Bible’s reception historical past. The e-book examines how motion pictures draw at the previous and New testomony and the determine of Jesus Christ in numerous direct and oblique how you can increase their plots, characters, and subject matters. in addition to video clips that set out explicitly to retell biblical tales of their historic context, it
explores the ways that modern, fictional characteristic movies utilize biblical narrative.
Topics coated include:
•how filmmakers utilize scripture to deal with and mirror their very own time and place.
•the Bible as a car in which movies can tackle social and political matters, mirror human studies and feelings, discover existential matters equivalent to evil and loss of life, and convey topics comparable to destruction and redemption.
•the position of the Bible as a resource of ethics and morality, and the way this connection is either perpetuated and undermined in quite a number modern Hollywood movies.
•films that create an event of transcendence, and the ways that the Bible figures in that experience.
Reinhartz bargains insightful research of diverse motion pictures together with The Ten Commandments and The Shawshank Redemption, being attentive to visible and aural components in addition to plot, personality, and discussion. scholars will locate this a useful advisor to a growing to be field.
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Extra info for Bible and Cinema: An Introduction
55 But perhaps it is not so much the gaze that is ambiguous; after all, any uncertainty about Bathsheba’s feelings is resolved by her declaration of love for David. Rather, it is the ethical underpinnings of the ﬁlm that are ambiguous, or rather, ambivalent. Bathsheba’s behavior reﬂects America’s ambivalence with regard to women’s roles and the social order in the immediate post-war era. Bathsheba is both beautiful seductress and moral agent. She is successful – if dangerous – in the ﬁrst role, less so in the second, and in the end both fall to the side as she is fully domesticated into the role of loving wife and mother.
Both men and women resumed their pre-war roles – men as breadwinners and women as wives, mothers, and homemakers. 49 These social changes provided the immediate context for the portrayal of gender and male–female relationships in the Old Testament epics. 50 But the hierarchical relationships between handsome, protective, and dominant men and their beautiful, The Old Testament epics 33 delicate, and submissive women are subtly infused with other messages: female rebellion against oppression, strength in the face of injustice, and morality and common sense in the face of their men’s emotion-, ego-, and testosterone-driven impulses and behaviors.
When he passed with ﬂying colors, she gave him bountiful gifts, and departed. End of story. From this sparse tale, the director King Vidor and his team created a 139 minute ﬁlm, in which Sheba has become a land traditionally ruled by women, The Old Testament epics 31 devoted to the worship of the god Ragon and politically allied with Egypt against Israel. The queen, named Sheba, is beautiful, wily, wanton, and ambitious. She and the Pharaoh of Egypt scheme to bring about Israel’s downfall: Sheba will seduce the king Solomon and then betray him to the Pharaoh.
Bible and Cinema: An Introduction by Adele Reinhartz