Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Holl... more Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Hollywood passion hero and the legalistic Western Christian myth over Jesus, or lifts the sign of Jesus’ suffering into those mythic orders. In the West, as Gibson’s success shows, this myth often masquerades as the nature of things. This myth transforms us into bastards who consume the suffering of others at a safe distance. We can confess this myth, as if it were a hierophany, or we can wrestle with it, exposing it as an interpretation.
This article reads Jesus’ baptism in Mark as an experience of possession akin to that of the demo... more This article reads Jesus’ baptism in Mark as an experience of possession akin to that of the demoniacs. It suggests several possible readings of Mark in light of this baptismal possession: (1) as a story of heavenly rape similar to that of the Lukan Mary’s overshadowing by the spirit; (2) as a story like the possessed of cinematic horror; (3) as a story of a colonial holy warrior’s enthusing possession by the spirit and subsequent dispossession and failure vis-à-vis empire; and (4) as a story of one entrapped by an obsessive script. The readings’ cumulative effect is a different perspective on the Markan Jesus’ first and last words – the announcement of the kingdom of God (Mark 1:14) and his final lament (15:34, 37) – than is common in Markan scholarship. The sayings become descriptions of Jesus’ possession and the subsequent loss of that spirit.
Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Holl... more Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Hollywood passion hero and the legalistic Western Christian myth over Jesus, or lifts the sign of Jesus ’ suffering into those mythic orders. In the West, as Gibson’s success shows, this myth often masquerades as the nature of things. This myth transforms us into bastards who consume the suffering of others at a safe distance. We can confess this myth, as if it were a hierophany, or we can wrestle with it, exposing it as an interpret-ation. Jacob was left alone; and a man wrestled with him until daybreak. When the man saw that he did not prevail against Jacob, he struck him on the hip socket; and Jacob’s hip was put out of joint as he wrestled with him. Then he said, ‘Let me go, for the day is breaking’. But Jacob said, ‘I will not let you go, unless you bless me’. So he said to him, ‘What is your name? ’ And he said, ‘Jacob’. Then the man said, ‘You shall no longer be called Jacob, but Isra...
The opening of Quentin Tarantino’s The Hateful Eight conjoins the iconic landscape of the Western... more The opening of Quentin Tarantino’s The Hateful Eight conjoins the iconic landscape of the Western, Christianity’s chief symbol the crucifix, and Tarantino’s oeuvre. The film gives the crucifix so much screen time that one wonders what its significance might be. That the film climaxes with the lynching of Daisy Domergue renders the crucifix teasingly parabolic. The opening-closing frame parallels the two hangings, as do the various eulogies associated with the lynching. That Daisy’s lynching takes place at the hands of the film’s two surviving characters—who, like the horses that lead the stagecoach team delivering Daisy to her fate, are black and white—seems to suggest that this crucifix raises some questions about U.S. racial violence. The crucifix is certainly atypical for cinema in that it does not hallow or bring triumph. Instead, this dangling crucifix (or aesthetics and ethics arising from it and the Western) may contribute to, rather than ameliorate, U.S. racial violence. At ...
We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The ... more We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The Godfather. They both begin outside the main power structure, the kingdom of Saul and the crime family, and then rise, often through the use of violence, to the top: King and Don. David’s decisive slaying of Goliath is matched by Michael’s assassination of Sollozzo and McCluskey. After the killings both are now recognized as serious “players” in their respective structures. As they move up the power chain David and Michael, as characters in biblical narrative and modern film, are haunted by the possibility that their stories could have been different: the innocent young shepherd and the decorated Marine. Both could be separate from the violence and corruption of Israelite monarchy and of the Corleone family.
A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collec... more A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collection of essays, indicates that Coen brothers’ films frame characters in harsh, amoral worlds. This aesthetic “framing” is similar not only to Camus’ analysis of the absurd, but also to the “feel” of some biblical narratives. Where Camus urges one to move beyond the absurd to absurd creation and biblical narratives press on to faith—at least, in most religious readings of them—the Coens laugh. A selective overview of the use of bibles in Coen brothers’ films demonstrates that the Coens’ biblical hermeneutic is risible. Their films frame bibles in amoral worlds, displace the Holy Bible, deploy popular bibles, twist and subvert bibles, reduce bibles to implicit backgrounds, and use bibles to laugh at characters, stories, and the human condition. In this, the Coens are also laughing at themselves. The article concludes by asking whether the Coens’ hermeneutic can help academics read biblical...
The article uses Sunset Boulevard (1950) and the cinematic Paul pattern to reflect on San Paolo, ... more The article uses Sunset Boulevard (1950) and the cinematic Paul pattern to reflect on San Paolo, Pasolini’s script for an unrealized Paul film, and on Paul, Apostle of Christ (2018). Typical Paul films, including television and church-use productions, present Paul in terms of a repeated pattern including 1) a spectacularly conceived Acts, 2) his martyrdom, 3) hagiography, and 4) biopic film structure. Despite focusing on Luke’s writing of Acts, rather than the content of Acts, Paul, Apostle of Christ follows the cinematic pattern quite closely. Even though it follows Acts more closely, San Paolo deviates from the cinematic pattern extensively, primarily because it transposes Paul to modernity where Paul struggles weakly and apocalyptically, rather than spectacularly or hagiographically, against dominant institutions. Unlike most films about early Christianity, San Paolo is not about the triumph of Christianity. Sunset Boulevard makes a nice foil for Paul’s cinematic history and thes...
Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Holl... more Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Hollywood passion hero and the legalistic Western Christian myth over Jesus, or lifts the sign of Jesus’ suffering into those mythic orders. In the West, as Gibson’s success shows, this myth often masquerades as the nature of things. This myth transforms us into bastards who consume the suffering of others at a safe distance. We can confess this myth, as if it were a hierophany, or we can wrestle with it, exposing it as an interpretation.
This article reads Jesus’ baptism in Mark as an experience of possession akin to that of the demo... more This article reads Jesus’ baptism in Mark as an experience of possession akin to that of the demoniacs. It suggests several possible readings of Mark in light of this baptismal possession: (1) as a story of heavenly rape similar to that of the Lukan Mary’s overshadowing by the spirit; (2) as a story like the possessed of cinematic horror; (3) as a story of a colonial holy warrior’s enthusing possession by the spirit and subsequent dispossession and failure vis-à-vis empire; and (4) as a story of one entrapped by an obsessive script. The readings’ cumulative effect is a different perspective on the Markan Jesus’ first and last words – the announcement of the kingdom of God (Mark 1:14) and his final lament (15:34, 37) – than is common in Markan scholarship. The sayings become descriptions of Jesus’ possession and the subsequent loss of that spirit.
Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Holl... more Gibson offers his spectacle of Christ suffering as a reel sacrament. To do so, he writes the Hollywood passion hero and the legalistic Western Christian myth over Jesus, or lifts the sign of Jesus ’ suffering into those mythic orders. In the West, as Gibson’s success shows, this myth often masquerades as the nature of things. This myth transforms us into bastards who consume the suffering of others at a safe distance. We can confess this myth, as if it were a hierophany, or we can wrestle with it, exposing it as an interpret-ation. Jacob was left alone; and a man wrestled with him until daybreak. When the man saw that he did not prevail against Jacob, he struck him on the hip socket; and Jacob’s hip was put out of joint as he wrestled with him. Then he said, ‘Let me go, for the day is breaking’. But Jacob said, ‘I will not let you go, unless you bless me’. So he said to him, ‘What is your name? ’ And he said, ‘Jacob’. Then the man said, ‘You shall no longer be called Jacob, but Isra...
The opening of Quentin Tarantino’s The Hateful Eight conjoins the iconic landscape of the Western... more The opening of Quentin Tarantino’s The Hateful Eight conjoins the iconic landscape of the Western, Christianity’s chief symbol the crucifix, and Tarantino’s oeuvre. The film gives the crucifix so much screen time that one wonders what its significance might be. That the film climaxes with the lynching of Daisy Domergue renders the crucifix teasingly parabolic. The opening-closing frame parallels the two hangings, as do the various eulogies associated with the lynching. That Daisy’s lynching takes place at the hands of the film’s two surviving characters—who, like the horses that lead the stagecoach team delivering Daisy to her fate, are black and white—seems to suggest that this crucifix raises some questions about U.S. racial violence. The crucifix is certainly atypical for cinema in that it does not hallow or bring triumph. Instead, this dangling crucifix (or aesthetics and ethics arising from it and the Western) may contribute to, rather than ameliorate, U.S. racial violence. At ...
We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The ... more We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The Godfather. They both begin outside the main power structure, the kingdom of Saul and the crime family, and then rise, often through the use of violence, to the top: King and Don. David’s decisive slaying of Goliath is matched by Michael’s assassination of Sollozzo and McCluskey. After the killings both are now recognized as serious “players” in their respective structures. As they move up the power chain David and Michael, as characters in biblical narrative and modern film, are haunted by the possibility that their stories could have been different: the innocent young shepherd and the decorated Marine. Both could be separate from the violence and corruption of Israelite monarchy and of the Corleone family.
A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collec... more A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collection of essays, indicates that Coen brothers’ films frame characters in harsh, amoral worlds. This aesthetic “framing” is similar not only to Camus’ analysis of the absurd, but also to the “feel” of some biblical narratives. Where Camus urges one to move beyond the absurd to absurd creation and biblical narratives press on to faith—at least, in most religious readings of them—the Coens laugh. A selective overview of the use of bibles in Coen brothers’ films demonstrates that the Coens’ biblical hermeneutic is risible. Their films frame bibles in amoral worlds, displace the Holy Bible, deploy popular bibles, twist and subvert bibles, reduce bibles to implicit backgrounds, and use bibles to laugh at characters, stories, and the human condition. In this, the Coens are also laughing at themselves. The article concludes by asking whether the Coens’ hermeneutic can help academics read biblical...
The article uses Sunset Boulevard (1950) and the cinematic Paul pattern to reflect on San Paolo, ... more The article uses Sunset Boulevard (1950) and the cinematic Paul pattern to reflect on San Paolo, Pasolini’s script for an unrealized Paul film, and on Paul, Apostle of Christ (2018). Typical Paul films, including television and church-use productions, present Paul in terms of a repeated pattern including 1) a spectacularly conceived Acts, 2) his martyrdom, 3) hagiography, and 4) biopic film structure. Despite focusing on Luke’s writing of Acts, rather than the content of Acts, Paul, Apostle of Christ follows the cinematic pattern quite closely. Even though it follows Acts more closely, San Paolo deviates from the cinematic pattern extensively, primarily because it transposes Paul to modernity where Paul struggles weakly and apocalyptically, rather than spectacularly or hagiographically, against dominant institutions. Unlike most films about early Christianity, San Paolo is not about the triumph of Christianity. Sunset Boulevard makes a nice foil for Paul’s cinematic history and thes...
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