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Art Cinema and Theology : the Word Was Made Film.

Author: Justin Ponder
Publisher: Cham : Springer International Publishing, 2017.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Buñuel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en scène. He investigates both the technical qualities of film "flesh" and its theological features. The chapters show how art cinema uses sound, editing, lighting, and  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
Ponder, Justin.
Art Cinema and Theology : The Word Was Made Film.
Cham : Springer International Publishing, ©2017
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Justin Ponder
ISBN: 9783319585567 3319585568
OCLC Number: 1009275098
Description: 1 online resource (219 pages)
Contents: ""Acknowledgements""; ""Contents""; ""List of Figures""; ""Chapter 1 Introduction: The Word was Made Film""; ""The Flesh""; ""The Word""; ""Bresson, Dreyer, Bergman, and Buñuel""; ""Premises""; ""The Word was Made Film""; ""Chapter 2 â#x80;#x9C;All Is Graceâ#x80;#x9D;: Sound and Grace in Robert Bressonâ#x80;#x99;s Diary of a Country Priest""; ""â#x80;#x9C;Keep Order All Day Longâ#x80;#x9D;: Pelagius and Torcy""; ""â#x80;#x9C;Face up to Itâ#x80;#x9D;: Camus and Dr. Delbende""; ""â#x80;#x9C;Then Let That Kingdom Come!â#x80;#x9D; Jansen and the Countess""; ""â#x80;#x9C;I Was Tempted toâ#x80;¦â#x80;#x9D;: Lacan and Chantal""; ""â#x80;#x9C;I Filled It at the Pondâ#x80;#x9D;: Irenaeus and Séraphita"" ""Â#x80;#x9C;Do You Have Some Secret?â#x80;#x9D;: Milbank and Chantal""""â#x80;#x9C;I Wouldnâ#x80;#x99;t Be in the Wayâ#x80;#x9D;: Milbank and the Housekeeper""; ""â#x80;#x9C;All Is Graceâ#x80;#x9D;: Milbank and the Cross""; ""Grace and Diary of a Country Priest""; ""Chapter 3 â#x80;#x9C;Life. Yes. Life.â#x80;#x9D;: Editing and Miracles in Carl Theodor Dreyerâ#x80;#x99;s Ordet""; ""â#x80;#x9C;God Does Not Break His Own Lawsâ#x80;#x9D;: Augustine and the Pastor""; ""â#x80;#x9C;Is It Not Wonderful?â#x80;#x9D;: Origen and Petersen""; ""â#x80;#x9C;Then Miracles Do Not Happenâ#x80;#x9D;: Hume and Morten""; ""â#x80;#x9C;A Lot of Little Miracles Happen Secretlyâ#x80;#x9D;: Spinoza and Inger"" ""Â#x80;#x9C;I Believe in Those Miracles Which My Science Has Taught Meâ#x80;#x9D;: Newton and the Doctor""""â#x80;#x9C;The Word that Can Bring the Dead Back to Lifeâ#x80;#x9D;: Lewis and Johannes""; ""â#x80;#x9C;Donâ#x80;#x99;t You Bother About the Othersâ#x80;#x9D;: Jesus and Maren""; ""â#x80;#x9C;When I Say the Name of Jesusâ#x80;#x9D;: Badiou and the Evental""; ""â#x80;#x9C;I Bid Thee Ariseâ#x80;#x9D;: Badiou and the Audience""; ""â#x80;#x9C;Eternal and the Sameâ#x80;#x9D;: Badiou and the Subject""; ""â#x80;#x9C;I Have Found Your Faithâ#x80;#x9D;: Badiou and Mikkel""; ""Miracles and Ordet""; ""Chapter 4 â#x80;#x9C;The Whole Earth Is Full of His Gloryâ#x80;#x9D;: Lighting and Suffering in Ingmar Bergmanâ#x80;#x99;s Winter Light"" ""Â#x80;#x9C;To Our Consolation and Blissâ#x80;#x9D;: Augustine and Communion""""â#x80;#x9C;Life Must Go Onâ#x80;#x9D;: Kant and the Perssons""; ""â#x80;#x9C;He Has to Show Upâ#x80;#x9D;: Leibniz and Märta""; ""â#x80;#x9C;Why Have You Forsaken Me?â#x80;#x9D;: Kierkegaard and Jonas""; ""â#x80;#x9C;Could You Please Guard the Body?â#x80;#x9D;: Sartre and Suicide""; ""â#x80;#x9C;That I Become a Clergymanâ#x80;#x9D;: Nietzsche and Karin""; ""The Bells Are Ringing: Barth and Frostnäs""; ""The Positivity of Double-X Negatives: Hauerwas and Incarnation""; ""â#x80;#x9C;Our Spirit of Reverenceâ#x80;#x9D;: Hauerwas and Algot""; ""â#x80;#x9C;Godâ#x80;#x99;s Silenceâ#x80;#x9D;: Lamentation and Algot"" ""Â#x80;#x9C;Shall We Have Service, Then?â#x80;#x9D;: Utilitarianism and Fredrik""""â#x80;#x9C;Holy Is the Lordâ#x80;#x9D;: Isaiah and the Congregation""; ""Suffering and Winter Light""; ""Chapter 5 â#x80;#x9C;No One Must Know of Thisâ#x80;#x9D;: Close-up and Heresy in Luis Buñuelâ#x80;#x99;s The Milky Way""; ""â#x80;#x9C;Iâ#x80;#x99;m Sure of Itâ#x80;#x9D;: Origen and the Mad Priest""; ""â#x80;#x9C;Thus, We Were Rightâ#x80;#x9D;: Irenaeus and the Priscillianists""; ""â#x80;#x9C;He Is Anathemaâ#x80;#x9D;: Bauer and the Institution Lamartine""; ""â#x80;#x9C;God Will Have Mercy on Usâ#x80;#x9D;: Koester and the Angel of Death""; ""â#x80;#x9C;Godâ#x80;#x99;s Ways Are Impenetrableâ#x80;#x9D;: Rahner and the Duelists"" ""Â#x80;#x9C;This Is Dogma, the Sole Truthâ#x80;#x9D;: Brown and the Bishop""

Abstract:

This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Buñuel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en scène. He investigates both the technical qualities of film "flesh" and its theological features. The chapters show how art cinema uses sound, editing, lighting, and close-ups in ways that critique doctrine's authoritarianism, as well as philosophy's individualism, to suggest postmodern theologies that emphasize community. Through this book we learn how the cinematic style of modernist auteurs relates to postmodern theology and how the industry of art cinema constructs certain kinds of film-watching subjectivity.

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