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Screening Schillebeeckx : theology and third cinema in dialogue

Author: Antonio D Sison
Publisher: New York : Palgrave Macmillan, 2006.
Edition/Format:   Print book : English : 1st edView all editions and formats
Database:WorldCat
Summary:
"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  Read more...
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Named Person: Edward Schillebeeckx; Edward Schillebeeckx; Edward Schillebeeckx
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Antonio D Sison
ISBN: 1403975167 9781403975164
OCLC Number: 65302511
Description: xii, 231 pages : illustrations ; 22 cm
Contents: 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.
Responsibility: Antonio D. Sison ; foreword by Robert J. Schreiter.
More information:

Abstract:

"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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