Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson's 2004 The Passion of the Christ. No doubt there are more to come.
Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality.
Reinhartz's study of Jesus' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society's profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000years ago.

The remarkable, award-winning film, Son of Man (2005), directed by the South African Mark Dornford-May, sets the Jesus story in a contemporary, fictional southern African Judea. While news broadcasts display the political struggles and troubles of this postcolonial country, moments of magical realism point to supernatural battles between Satan and Jesus as well. Jesus' Judean struggle with Satan begins with a haunting reprise of Matthew's 'slaughter of the innocents' and moves forward in a Steve Biko-like non-violent, community-building ministry, captured in graffiti and in the video footage that Judas takes to incriminate Jesus. Satan and the powers seemingly triumph when Jesus 'disappears', but then Mary creates a community that challenges such injustice by displaying her son's dead body upon a hillside cross. The film ends with shots of Jesus among the angels and everyday life in Khayelitsha (the primary shooting location), auguring hope of a new humanity (Genesis 1.26). This book's essays situate Son of Man in its African context, exploring the film's incorporation of local customs, music, rituals, and events as it constructs an imperial and postcolonial 'world'. The film is to be seen as an expression of postcolonial agency, as a call to constructive political action, as an interpretation of the Gospels, and as a reconfiguration of the Jesus film tradition. Finally, the essays call attention to their interested, ideological interpretations by using Son of Man to raise contemporary ethical, hermeneutical, and theological questions. As the film itself concisely asks on behalf of the children featured in it and their politically active mothers, 'Whose world is this'?

Ephesians is a "mystery" text that seeks to make known the multifarious Wisdom of G*d. At its heart is the question of power. In this commentary, Elisabeth Schussler Fiorenza examines the political understandings of ekkl esia and household in Ephesians as well as the roles that such understandings have played in the formation of early Christian communities and that still shape such communities today. By paying close attention to the function of androcentric biblical language within Ephesians, Schussler Fiorenza engages in a critical feminist emancipatory approach to biblical interpretation that calls for conscientization and change, that is, for the sake of wo/men's salvation or wellbeing.

An increasingly popular area of religious studies, theology and biblical studies. Comprehensive coverage for a textbook for courses on Bible and Film. This new edition includes new pedagogy including key words, a bibliography of movies and revision questions.

The Fourth Gospel is at the same time a sublime work that has inspired and enriched the faith of countless Christians and a problematic text that has provided potent anti-Jewish imagery exploited in anti-Jewish and anti-Semitic discourse over the course of two millennia. The Fourth Gospel contains approximately 70 references to hoi ioudaioi, a designation most often (and best) translated as "the Jews." Several of these references are neutral or descriptive, referring to Jewish festivals or specific practices, and some depict individual Jews or Jewish groups as interested in Jesus' message. The vast majority, however, express a negative or even hostile stance towards the Jews. These passages express several themes that became central to Christian anti-Jewish and anti-Semitic discourse. These include the charge of deicide - killing God - and the claim that the Jews have the devil as their father (8:44). The essays in this book address both the Gospel's stance towards the Jews and the Gospel's impact on Jewish-Christian relations from antiquity to the present day, in a range of media, including sermons, iconography, art, music, and film. A short volume of collected essays cannot hope to address the full history of the Fourth Gospel's impact on Jewish-Christian relations. Nevertheless, it is hoped that this volume will contribute to the efforts of Christians and Jews alike to find ways to appreciate what is good and life-affirming about the Gospel of John, while also acknowledging the damaging impact of its portrayal of Jews as the children of Satan and the killers of Christ. Only when Christians disavow this portrayal can the Gospel of John continue to be a true source of inspiration and perhaps even a path forward in the relationships between Jews and Christians in the modern world.

Anonymous characters -- such as Lot's wife, Jephthah's daughter, Pharoah's baker, and the witch of Endor -- are ubiquitous in the Hebrew Bible, and appear in a wide variety of roles. Adele Reinhartz here answers two principal questions concerning this aspect of biblical narrative. First, is there a "poetics of anonymity," and if so, what are its contours? Second, how does anonymity affect the readers' response to, and construction of, unnamed biblical characters. She is especially interested in issues related to gender, determining whether female characters are more likely to be anonymous than male characters, and whether the anonymity of female characters functions differently from that of male characters.

An increasingly popular area of religious studies, theology and biblical studies. Comprehensive coverage for a textbook for courses on Bible and Film. This new edition includes new pedagogy including key words, a bibliography of movies and revision questions.

Movies which have drawn inspiration from the Bible, either directly or indirectly, have been extremely popular since the earliest days of cinema. "Bible and Cinema: Fifty Key Films" introduces a wide range of those movies, which are among the most important, critically-acclaimed and highest-grossing films of all time, including:

• The King of Kings
• Ben-Hur
• The Passion of the Christ
• Frankenstein
• Close Encounters of the Third Kind
• 2001: A Space Odyssey
• Apocalypse Now
• Monty Python s Life of Brian.

Written by a team of international scholars, the fifty entries discuss the Biblical stories, characters or motifs depicted in each film making this book the ideal guide for anyone interested in the long-standing relationship between the Bible and film.

Movies which have drawn inspiration from the Bible, either directly or indirectly, have been extremely popular since the earliest days of cinema. "Bible and Cinema: Fifty Key Films" introduces a wide range of those movies, which are among the most important, critically-acclaimed and highest-grossing films of all time, including:

• The King of Kings
• Ben-Hur
• The Passion of the Christ
• Frankenstein
• Close Encounters of the Third Kind
• 2001: A Space Odyssey
• Apocalypse Now
• Monty Python s Life of Brian.

Written by a team of international scholars, the fifty entries discuss the Biblical stories, characters or motifs depicted in each film making this book the ideal guide for anyone interested in the long-standing relationship between the Bible and film.

Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson's 2004 The Passion of the Christ. No doubt there are more to come.
Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality.
Reinhartz's study of Jesus' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society's profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000 years ago.

As the Roman-appointed high priest who had a hand in orchestrating Jesus' crucifixion, Caiaphas secured his place in infamy alongside Pontius Pilate. But who was Caiaphas really? Adele Reinhartz offers a thorough reconsideration of Caiaphas in the Gospels and other ancient texts as well as in subsequent visual arts, literature, film, and drama. The portrait that emerges challenges long-held beliefs about this New Testament figure by examining the background of the high priesthood and exploring the relationships among the high priest, the Roman leadership, and the Jewish population. Reinhartz does not seek to exonerate Caiaphas from culpability in the crucifixion, but she does expand our understanding of Caiaphas's complex religious and political roles in biblical literature and his culturally loaded depiction in ongoing Jewish-Christian dialogue.