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Jesus films arose with cinema itself. Richard Walsh and Jeffrey L.
Staley introduce students to these films with a general overview of
the Jesus film tradition and with specific analyses of 22 of its
most influential exemplars, stretching from La vie du Christ (1906)
to Mary Magdalene (2018). The introduction to each film includes
discussion of plot, characters, visuals, appeal to authority, and
cultural location as well as consideration of the director's
(and/or other filmmakers') achievements and style. Several film
chapters end with reflections on problematic issues bedeviling the
tradition, such as cultural imperialism and patriarchy. To assist
teachers and researchers, each chapter includes a listing of DVD
chapters and the approximate "time" (for both DVDs and streaming
platforms) at which key film moments occur. The book also includes
a Gospels Harmony cataloging the time at which key gospel incidents
appear in these films. Extensive endnotes point readers to other
important work on the tradition and specific films. While the
authors strive to set the Jesus film tradition within cinema and
its interpretation, the DVD/streaming listing and the Gospels
Harmony facilitate the comparison of these films to gospel
interpretation and the Jesus tradition.
Jesus films arose with cinema itself. Richard Walsh and Jeffrey L.
Staley introduce students to these films with a general overview of
the Jesus film tradition and with specific analyses of 22 of its
most influential exemplars, stretching from La vie du Christ (1906)
to Mary Magdalene (2018). The introduction to each film includes
discussion of plot, characters, visuals, appeal to authority, and
cultural location as well as consideration of the director's
(and/or other filmmakers') achievements and style. Several film
chapters end with reflections on problematic issues bedeviling the
tradition, such as cultural imperialism and patriarchy. To assist
teachers and researchers, each chapter includes a listing of DVD
chapters and the approximate "time" (for both DVDs and streaming
platforms) at which key film moments occur. The book also includes
a Gospels Harmony cataloging the time at which key gospel incidents
appear in these films. Extensive endnotes point readers to other
important work on the tradition and specific films. While the
authors strive to set the Jesus film tradition within cinema and
its interpretation, the DVD/streaming listing and the Gospels
Harmony facilitate the comparison of these films to gospel
interpretation and the Jesus tradition.
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'?
An exciting collection of essays connecting postcolonialism and the
Gospel of John, written by a group of international scholars, both
established and new, from Hispanic, African, Jewish, Chinese,
Korean and African-American backgrounds. It explores important
topics such as the appropriation of John in settler communities of
the United States and Canada, and the use of John in the
colonisation of Africa, Asia, Latin America and New Zealand.The
interpreters represent communities of borderland dwellers, women in
colonised settings, minority ethnic groups within colonised centres
and others. In an era of rapid globalisation, increased travel,
rising diasporic communities and neo-colonialism, it is crucial
that biblical scholars find ways to address this world with
critical skill and sensitivity. This book fills this need.
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