Building on critical work in biblical studies, which shows how a historically-bounded heretical tradition called Gnosticism was 'invented', this work focuses on the following stage in which it was "essentialised" into a sui generis, universal category of religion. At the same time, it shows how Gnosticism became a religious self-identifier, with a number of sizable contemporary groups identifying as Gnostics today, drawing on the same discourses. This book provides a history of this problematic category, and its relationship with scholarly and popular discourse on religion in the twentieth century. It uses a critical-historical method to show how and why Gnosis, Gnostic and Gnosticism were taken up by specific groups and individuals - practitioners and scholars - at different times. It shows how ideas about Gnosticism developed in late nineteenth- and twentieth-century scholarship, drawing from continental phenomenology, Jungian psychology and post-Holocaust theology, to be constructed as a perennial religious current based on special knowledge of the divine in a corrupt world. David G. Robertson challenges how scholars interact with the category Gnosticism, and contributes to our understanding of the complex relationship between primary sources, academics and practitioners in category formation.

In the last twenty years or so, numerous mainstream movies have drawn from the ideas and images of ancient thought to address the collapse of appearance and reality. These films have consistently featured the Gnostic currents that emerged from Plato: not only Gnosticism itself but also Cabbala and alchemy. Despite important differences, these traditions have provided filmmakers with ready-made ruminations on the relationship between surface and depth as well as with engaging plot lines and striking scenes. In films like "The Matrix" (1999) and "The Truman Show" (1998), Gnostic myths have offered speculations on the real as well as conspiracy theories. The Cabbalistic motif of golem-making has provided such movies as "A.I." (2001) and "Blade Runner" (1982) with mediations on the human and with parables of machines yearning for life. Pictures like "Dead Man" (1996) and "Altered States" (1980) have drawn on alchemical symbols to explore the possibilities of transmutation and to feature stories of the dead rising to life. Recent commercial Gnostic films are meditations on the conundrums of the post-modern age and the timeless soul. These pictures constitute archetypal sites for sacred contemplation. They create spaces akin to the caves of Eleusis or Lascaux, chambers where habits are annihilated and the ego is shattered. Maybe this spiritual attraction is the secret reason behind the recent abundance of Gnostic films. If so, then the dream factory is betraying its purpose. It is negating its deceptions and sales in the name of a bewildering reality that cannot be found. "Secret Cinema" explores these possibilities through engaging in three related activities. One, the book establishes the theoretical foundations and implications of the genre of Gnostic cinema. It develops these theoretical elements in the contexts of Gnosticism and the esoteric traditions emerging from it, Cabbala and alchemy. Two, in undertaking this work, Wilson considers several collateral issues. The book discusses the functions of genre, the relationships between cinema and psychology, the connections between the moving image and sacred power, the role of the cinematographic apparatus, and the romance of film. Three, the book is a broad meditation on the seductions of cinema. It is attuned to material attractions of the movies, those gorgeous lights and lurid shadows, but also the film's spiritual invitations, the gaps between the pictures, the empty spaces at the heart of life.

The Macarian writings are among the most important and influential works of the early Christian ascetic and mystical tradition. This book offers an introduction to the work of Macarius-Symeon (commonly referred to as Pseudo-Macarius), outlining the lineaments of his teaching and the historical context of his works. The book goes on to examine and re-evaluate the complex question of his relationship with the Messalian tendency and to explore the nature of his theological and spiritual legacy in the later Christian tradition. In so doing the book also offers substantial treatments of the work of Mark the Monk, Diadochus of Photice, Abba Isaiah, and Maximus Confessor. It stands therefore not only as an exploration of the teaching and legacy of Macarius-Symeon but also as a chapter in the history of the Christian spiritual tradition.