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.

Is contemporary Black British gospel music a coloniality? What theological message is really conveyed in these songs? In this book, Robert Beckford shows how the Black British contemporary gospel music tradition is in crisis because its songs continue to be informed by colonial Christian ideas about God. Beckford explores the failure of both African and African Caribbean heritage Churches to Decolonise their faith, especially the doctrine of God, biblical interpretation and Black ontology. This predicament has left song leaders, musicians and songwriters with a reservoir of ideas that aim to disavow engagement with the social-historical world, black Biblical interpretation and the necessity of loving blackness. This book is decolonisation through praxis. Reflecting on the conceptual social justice album ‘The Jamaican Bible Remix’ (2017) as a communicative resource, Beckford shows how to develop production tools to inscribe decolonial theological thought onto Black British music(s). The outcome of this process is the creation of a decolonial contemporary gospel music genre. The impact of the album is demonstrated through case studies in national and international contexts.

Dub is an act of deconstruction, where a reggae musician takes apart the key elements of a music track, and repositions them, transforming the original, enabling new ways of hearing and understanding. Dub is not neutral, it enriches music with political, spiritual and cultural influences, challenging the establishment.
"Jesus Dub "is Robert Beckford's exploration of the dialogue between two central institutions in African Caribbean life: the church and the dancehall. Beckford shows how Dub, one of the central features of dancehall culture, can be mobilized as a framework for re-evaluating theology, taking apart doctrine and reconstructing it under the influence of a guiding theme. Engaging with the social and cultural heritage which informs Christian African Caribbean culture, including the influence of slavery, Revival Christianity and working class Jamaican life; Black theology; and music ranging from post-war Sound System to American Hip Hop, "Jesus Dub "is an exploration of how throughout history, music and faith have been transformed in response to racialism oppression. Finally, Beckford demonstrates that dub style appears in the teachings of Jesus, and that dub is a tool which can provide new ways of envisaging and practicing spiritual gifts, financial giving and family life, proposing a more inclusive theology for everyone.

Dub is an act of deconstruction, where a reggae musician takes apart the key elements of a music track, and repositions them, transforming the original, enabling new ways of hearing and understanding. Dub is not neutral, it enriches music with political, spiritual and cultural influences, challenging the establishment.
"Jesus Dub "is Robert Beckford's exploration of the dialogue between two central institutions in African Caribbean life: the church and the dancehall. Beckford shows how Dub, one of the central features of dancehall culture, can be mobilized as a framework for re-evaluating theology, taking apart doctrine and reconstructing it under the influence of a guiding theme. Engaging with the social and cultural heritage which informs Christian African Caribbean culture, including the influence of slavery, Revival Christianity and working class Jamaican life; Black theology; and music ranging from post-war Sound System to American Hip Hop, "Jesus Dub "is an exploration of how throughout history, music and faith have been transformed in response to racialism oppression. Finally, Beckford demonstrates that dub style appears in the teachings of Jesus, and that dub is a tool which can provide new ways of envisaging and practicing spiritual gifts, financial giving and family life, proposing a more inclusive theology for everyone.

One of the most widely read and highly acclaimed religious books, God of Surprises takes us on the inner journey, convinced that the treasure is hidden within. Jesus said: 'The Kingdom of Heaven is like a treasure in a field.' This book has only one purpose: to suggest ways of finding the treasure in what we may consider a most unlikely field - ourselves. It is a guide book to the inner journey in which we are all engaged and has much to say to those who have a love/hate relationship with the Church to which they belong or once belonged.

"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.