God, as depicted in popular evangelical literature, is loving and friendly, described in heartfelt, often saccharine prose evocative of nostalgia, comfortable domesticity, and familial love. This emotional appeal is a widely-adopted strategy of the writers most popular among American evangelicals, including such high-profile pastors as Max Lucado, Rick Warren, and Joel Osteen. Todd M. Brenneman offers an in-depth examination of this previously unexplored aspect of American evangelical identity: sentimentality, which aims to produce an emotional response by appealing to readers' notions of familial relationships, superimposed on their relationship with God. Brenneman argues that evangelicals use sentimentality to establish authority in the public sphere-authority that is, by its emotional nature, unassailable by rational investigation. Evangelicals also deploy sentimentality to try to bring about change in society, though, as Brenneman shows, the sentimental focus on individual emotion and experience can undermine the evangelical agenda. Sentimentality not only allows evangelicals to sidestep intellectual questioning, but sets the stage for doctrinal change as well as weakening the evangelical vision of transforming society into the kingdom of God.

Exploring one of the most controversial figures in recent evangelical theology, this book thoroughly examines core features of Stanley J. Grenz's Trinitarian vision.

Documentary as Exorcism is an interdisciplinary study that builds upon the insights of postcolonial studies, critical race theory, theological and religious studies and media and film studies to showcase the role of documentary film as a system of signifying capable of registering complex theological ideas while pursuing the authentic aims of documentary filmmaking. Robert Beckford marries the concepts of 'theology as visual practice' and 'theology as political engagement' to develop a new mode of documentary filmmaking that embeds emancipation from oppression in its aesthetic. In various documentaries made for Channel 4 and the BBC, Beckford narrates the complicit relationship of Christianity with European expansion, slavery, and colonialism as a historic manifestation of evil. In light of the cannibalistic practices of colonialism that devoured black life, and the church's role in the subjugation and theological legitimation of black bodies, Beckford characterises this form of historic Christian faith as 'colonial Christianity' and its malevolent or 'occult' practices as a form of 'bewitchment' that must be 'exorcised'. He identifies and exorcises the evil practices of colonialism and their present impact upon African Caribbean Christian communities in Britain in films such as Britain's Slave Trade and Empire Pays Back through a deliberate process of encoding/decoding. The emancipatory impact of this form of documentary filmmaking is demonstrated by its ability to bring issues such as reparations to the public square for debate, and its capacity to change a corporation's trade policies for the good of Africans.