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Screening Schillebeeckx : theology and third cinema in dialogue

Auteur: Antonio D Sison
Uitgever: New York : Palgrave Macmillan, 2006.
Editie/Formaat:   Print book : Engels : 1st edAlle edities en materiaalsoorten bekijken.
Database:WorldCat
Samenvatting:
"An exploration of the creative crossings between the liberative stream of Edward Schillebeeckx's eschatological perspective and Third Cinema, Antonio D. Sison's work is interdisciplinary and innovative. Examining a variety of films - from independents such as Perfumed Nightmare and Xala to the Oscar-nominated Hotel Rwanda and Motorcycle Diaries - Sision builds an intertextual and intercultural dialogue between one  Meer lezen...
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Details

Genoemd persoon: Edward Schillebeeckx; Edward Schillebeeckx; Edward Schillebeeckx
Genre: Internetbron
Soort document: Boek, Internetbron
Alle auteurs / medewerkers: Antonio D Sison
ISBN: 1403975167 9781403975164
OCLC-nummer: 65302511
Beschrijving: xii, 231 pages : illustrations ; 22 cm
Inhoud: pt. I. Cinematic principle: 1. The concept of the Third Cinema --
2. Exploring national dimensions of third cinema --
3. Films from a virtual geography of third cinema --
pt. II. Theological principle : 4. Political holiness : the eschatological perspective of Schillebeeckx --
pt. III. The crystallization of political holiness in third cinema --
Conclusion : the new stained glass winsdow.
Verantwoordelijkheid: Antonio D. Sison ; foreword by Robert J. Schreiter.
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Fragment:

"An exploration of the creative crossings between the liberative stream of Edward Schillebeeckx's eschatological perspective and Third Cinema, Antonio D. Sison's work is interdisciplinary and innovative. Examining a variety of films - from independents such as Perfumed Nightmare and Xala to the Oscar-nominated Hotel Rwanda and Motorcycle Diaries - Sision builds an intertextual and intercultural dialogue between one of the greatest western theologians of our time and a cinema that has become all the more relevant in the light of global, sociopolitical struggles. Sison argues for the primacy of cinematic style as the locus for a theological interpretation of film over the prevailing practice of extracting the religious dimension from film's more thematic, literary basis."--Jacket.

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