Bible and Cinema: Fifty Key Films (Routledge Key Guides)

April 3, 2017 | Media Studies | By admin | 0 Comments

Video clips that have drawn notion from the Bible, both at once or in a roundabout way, were highly regarded because the earliest days of cinema. Bible and Cinema: Fifty Key Films introduces a variety of these videos, that are one of the most vital, critically-acclaimed and highest-grossing motion pictures of all time, including:

The King of Kings Ben-Hur the fervour of the Christ Frankenstein shut Encounters of the 3rd type 2001: an area Odyssey Apocalypse Now Monty Python s lifetime of Brian.

Written by means of a group of foreign students, the fifty entries speak about the Biblical tales, characters or motifs depicted in each one movie making this ebook the fitting consultant for someone attracted to the long-standing dating among the Bible and movie.

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Extra resources for Bible and Cinema: Fifty Key Films (Routledge Key Guides)

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Eliot and, through Eliot to the film itself (see Cowie 2001: 156–57). The book that first appears dominant in the frame, however, is a black leather-bound Holy Bible (which Cowie fails to mention in his 18 Babette’s Feast otherwise insightful analysis of the scene), which stands upright and dominant in the shot, suggesting that interspersed visual and auditory intersections of Apocalypse Now with the Apocalypse of the Bible are by no means accidental. Scott (1994: 181) rightly notes that the discordant soundtrack and images and the ‘interweaving of real and surreal’ are constant throughout the film.

But if Aguirre’s fate is well deserved, Jesus’ death as an innocent victim makes the Gospel of Mark that much more tragic. In one other respect does Aguirre recall the Gospel of Mark: audience participation. Werner Herzog is fond of saying that he does not distinguish between making a fictional film and making a documentary. The making of the film is as integral to the final product as the narrative. That is amply evident in Aguirre. Shots of rapids held for an extended time, water vapours and droplets on the lens, a butterfly sitting on a finger, characters relaxing in silence, long passages of an Indian’s reedy music, and so on, all contribute to the feel of a ‘making-of’ documentary.

In spite of their pious pact, fellowship breaks in. With the service of quail (Caille en Sarcophage), the General bites into the quail’s skull and sucks out the brain, raising the eyebrows of the faithful. He recalls a meal hosted by General Galliffet at the Café Anglais in Paris where the chef, a woman, served this same signature dish. He muses, that this chef ‘had the ability to transform a dinner into a kind of love affair. A love affair that made no distinction between bodily appetite and spiritual appetite’.

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