The religious imagination is alive and well in the movies. Contrary to those who criticize Hollywood, popular movies very often have metaphorically represented God on the screen. From Clint Eastwood as an avenging angel in Pale Rider and Nicolas Cage as a love-sick angel in City of Angels, to Jessica Lange as an angel of death in All That Jazz, and from George Burns as God in Oh God! to Audrey Hepburn in Alwaysto pure white light in Fearless and Flatliners, God is very much present in the movies. Images of angels and God used by movie makers are explored here.This intelligent, insightful volume is an exercise in urban anthropology. Religious imagination is the subject and the movie house is its location. The authors show that the religious imagination is irrepressible, and shows up in our best-known example of popular cultures, movies. Contrary to conservative opinion that suggests that Hollywood is anti-religious, Greeley and Bergesen find just the opposite. Ordinary movies, not explicitly about religion and not made by particularly religious individuals often demonstrate some basic religious theme, point, or message. God in the Movies does not judge or approve, recommend or criticize; the authors simply alert the reader to the great variety of metaphors for God, angels, heaven, and hell, from beautiful women to white light at the end of the tunnel to Groundhog Day. They are not concerned with explicitly religious movies. This is not a study of Ben Huror The Last Temptations of Christ, but rather of ordinary mass-release movies, including Field of Dreams, Always, All That Jazz, Commandments, Babette's Feast, Fearless, Breaking the Waves, Jacob's Ladder, Flatliners, Ghost, Pale Rider, Star Wars, 2001, Dogma, and even Japanimation, like Ghost in the Shell.The authors' vivid explication of various cinematic metaphors for God is accompanied by an analysis of what these movies tell about our sociological attitudes toward life and death. They also discuss the social conditions that give rise to various kinds of imagery and forms of movies. In a real sense, this book is for both the professional concerned with religion, sociology, cultural studies, anthropology, media and cinema studies, and the layperson interested in how popular movies also contain religious imagery.

First published in 1984, Cultural Analysis is a systematic examination of the theories of culture contained in the writings of four contemporary social theorists: Peter L. Berger, Mary Douglas, Michel Foucault, and Jurgen Habermas. This study of their work clarifies their contributions to the analysis of culture and shows the converging assumptions that the authors believe are laying the foundation for a new approach to the study of culture. The focus is specifically on culture, a concept that remains subject to ambiguities of treatment, and concentrates on questions concerning the definition and content of culture, its construction, its relations with social conditions, and the manner in which it may be changing. The books demonstrates how these writers have made strides towards defining culture as an objective element of social interaction which can be subjected to critical investigation.

First published in 1984, Cultural Analysis is a systematic examination of the theories of culture contained in the writings of four contemporary social theorists: Peter L. Berger, Mary Douglas, Michel Foucault, and Jurgen Habermas.

This study of their work clarifies their contributions to the analysis of culture and shows the converging assumptions that the authors believe are laying the foundation for a new approach to the study of culture. The focus is specifically on culture, a concept that remains subject to ambiguities of treatment, and concentrates on questions concerning the definition and content of culture, its construction, its relations with social conditions, and the manner in which it may be changing. The books demonstrates how these writers have made strides towards defining culture as an objective element of social interaction which can be subjected to critical investigation."

Anyone who wants to understand what militant Muslims think has to understand what they read-and they read Sayyid Qutb, the intellectual father of Islamic fundamentalism. Qutb, an Egyptian literary critic and philosopher who was appalled by American decadence, gained prominence in the Muslim Brotherhood, was imprisoned by Nasser, and hanged in 1966. Through his death and prolific writings he became a martyr for the cause of political Islam. His work is virtually unknown outside the Muslim world, but Qutb is at the heart of the intellectual rationale for jihad and violence in the name of Islam.

The Sayyid Qutb Reader is the first collection of his selected works available to the general public. As such, this valuable introduction to Qutb's core intellectual ideas should be read by anyone who wants to understand one of the most important conflicts of our age.

Anyone who wants to understand what militant Muslims think has to understand what they read-and they read Sayyid Qutb, the intellectual father of Islamic fundamentalism. Qutb, an Egyptian literary critic and philosopher who was appalled by American decadence, gained prominence in the Muslim Brotherhood, was imprisoned by Nasser, and hanged in 1966. Through his death and prolific writings he became a martyr for the cause of political Islam. His work is virtually unknown outside the Muslim world, but Qutb is at the heart of the intellectual rationale for jihad and violence in the name of Islam.

The Sayyid Qutb Reader is the first collection of his selected works available to the general public. As such, this valuable introduction to Qutb's core intellectual ideas should be read by anyone who wants to understand one of the most important conflicts of our age.

Come take a closer look at ordinary footwear, like sneakers, or children's toys and Saturday cartoon TV shows, or make a comparison between Don Quixote and John Rambo of the Sylvester Stallone movie. Although some regard popular culture as "shallow," this book reveals that it is more often complex, deep, meaningful and subject to the style changes we associate with high art. Bergesen shows how complex philosophical ideas of reincarnation are embedded in Transformer toys; how sneakers have gone through a life cycle of style types; why the decline of empires like Spain and the United States led to fictional characters like Don Quixote and Rambo; and why monsters from Japan look different than those from the United States.

Come take a closer look at ordinary footwear, like sneakers, or children's toys and Saturday cartoon TV shows, or make a comparison between Don Quixote and John Rambo of the Sylvester Stallone movie. Although some regard popular culture as "shallow," this book reveals that it is more often complex, deep, meaningful and subject to the style changes we associate with high art. Bergesen shows how complex philosophical ideas of reincarnation are embedded in Transformer toys; how sneakers have gone through a life cycle of style types; why the decline of empires like Spain and the United States led to fictional characters like Don Quixote and Rambo; and why monsters from Japan look different than those from the United States.

The religious imagination is alive and well in the movies. Contrary to those who criticize Hollywood, popular movies very often have metaphorically represented God on the screen. From Clint Eastwood as an avenging angel in "Pale Rider and "Nicolas Cage as a love-sick angel in "City of Angels, "to Jessica Lange as an angel of death in "All That Jazz, "and from George Burns as God in "Oh God "to Audrey Hepburn in "Alwaysto "pure white light in "Fearless "and "Flatliners, "God is very much present in the movies. Images of angels and God used by movie makers are explored here.

This intelligent, insightful volume is an exercise in urban anthropology. Religious imagination is the subject and the movie house is its location. The authors show that the religious imagination is irrepressible, and shows up in our best-known example of popular cultures, movies. Contrary to conservative opinion that suggests that Hollywood is anti-religious, Greeley and Bergesen find just the opposite. Ordinary movies, not explicitly about religion and not made by particularly religious individuals often demonstrate some basic religious theme, point, or message. "God in the Movies "does not judge or approve, recommend or criticize; the authors simply alert the reader to the great variety of metaphors for God, angels, heaven, and hell, from beautiful women to white light at the end of the tunnel to Groundhog Day. They are not concerned with explicitly religious movies. This is not a study of "Ben Huror The Last Temptations of Christ, "but rather of ordinary mass-release movies, including "Field of Dreams, Always, All That Jazz, Commandments, Babette's Feast, Fearless, Breaking the Waves, Jacob's Ladder, Flatliners, Ghost, Pale Rider, Star Wars, 2001, Dogma, "and even Japanimation, like "Ghost in the Shell."

The authors' vivid explication of various cinematic metaphors for God is accompanied by an analysis of what these movies tell about our sociological attitudes toward life and death. They also discuss the social conditions that give rise to various kinds of imagery and forms of movies. In a real sense, this book is for both the professional concerned with religion, sociology, cultural studies, anthropology, media and cinema studies, and the layperson interested in how popular movies also contain religious imagery.