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Cinema and Secularism is the first collection to make the
relationship between cinema and secularism thematic, utilizing a
number of different methodological approaches to examine their
identification and differentiation across film theory, film
aesthetics, film history, and throughout global cinema. The
emergence of moving images and the history of cinema historically
coincide with the emergence of secularism as a concept and
discourse. More than historically coinciding, however, cinema and
secularism would seem to have—and many contemporary theorists and
critics seem to assume—a more intrinsic, almost ontological
connection to each other. While early film theorists and critics
explicitly addressed questions about secularism, religion, and
cinema, once the study of film was professionalized and secularized
in the Western academy in both film studies and religious studies,
explicit and critical attention to the relationship between cinema
and secularism rapidly declined. Indeed, if one canvases film
scholarship today, one will find barely any works dedicated to
thinking critically about the relationship between cinema and
secularism. Extending the recent “secular turn” in the
humanities and social sciences, Cinema and Secularism provokes
critical reflection on its titular concepts. Making contributions
to theory, philosophy, criticism, and history, the chapters in this
pioneering volume collectively interrogate the assumption that
cinema is secular, how secularism is conceived and related to
cinema differently in different film cultures, and whether the
world is disenchanted or enchanted in cinema. Coming from
intellectually diverse backgrounds in film studies, religious
studies, and philosophy, the interdisciplinary contributors to this
book cover films and traditions of thought from America, Europe,
Africa, the Middle East, South Asia, and East Asia. In these ways,
Cinema and Secularism opens new areas of inquiry in the study of
film and contributes to the ongoing interrogation of secularism
more broadly.
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