In the month of April 2016 I added this 42 articles to FilmandReligion.com that discusses aspects of film/TV and religion. About half of them are from the last 12 months, but the rest is from the 1980’s
The Club is troubling on every level, the apparent reconciliation of its conclusion – rendered in, and reflected by, acts of religion that can’t help articulating spiritual purpose even when the context in which they appear is corrupted – as much driven by compromise as by the resolving will of any higher power, either secular (in the sense of righting the world) or sacred (in forgiving it). No easy Easter film of new beginnings, this: the troubled past of Larrain’s Chile looks set to endure a long time yet, the darkness as visible here as in any of the director’s films to date.
Iona is a lyrical, reflective drama that owes an obvious debt to the film-making of Andrei Tarkovsky and Carl Dreyer. That is both what makes it so refreshing and sometimes so frustrating. It’s a lowish-budget British drama that doesn’t rely on social realist conventions. Dialogue is kept to a minimum. Plot details are only very gradually revealed. Iona is both the name of the main character (played by Ruth Negga) and the Scottish island on which the film is set. Iona and her troubled teenage son, Bull, are heading there. She left the island many years before….
Graham makes excellent use of the Hebridean landscapes. He pays close attention to the part religion plays in the island’s life and deals very sensitively with the courtship between Bull and a beautiful young girl (Sorcha Groundsell) who can’t walk. In a Tarkovsky or as Dreyer film, though, the mysticism would have been pushed further. There would have been some miraculous happening – some attempt at transcendence. Graham, by contrast, is a little too reticent. The more we learn about the characters, the less mysterious and magical they become.
A former drug addict takes the place of Jesus – wearing a crown of thorns made from syringes – as part of a shock tactic advertisement the Church of England hopes will attract new worshippers this Easter.
Rob Jones, 46, from Halifax, West Yorks, who spent years living rough punctuated by time in prison before turning his life around, plays the central role in a short film modelled on a traditional passion play.
He appears alongside a former white witch who converted to Christianity and others in the video made as part of the Church’s “Just Pray” campaign.
When it comes to movie ratings, we are all familiar with the same letters: G, PG, PG-13, and R. These ratings serve as a notification for movie-goers so that we know the general level of maturity of the film. If the film is PG, sure, bring the kids. If it’s R, leave the kids at home.
What you may not know is that the Catholic News Service has their own set of ratings in accordance to their own beliefs and morals. They have five different ratings, consisting of A-I (general patronage), A-II (adolescents and adults), A-III (adults), L (limited adult audience), and O (morally offensive).
While an L rating states that a very small adult audience should see the film, an O rating claims that the film shouldn’t be seen at all.
Few things inspire such passion and conflict–and such meaningfulness and peace–in our lives as religion. Join us for different looks at faith and religion through the lens of the filmmaker as we start our next film series at OLLI: “Faith and Religion in Film” on April 11. During April through July, we will screen these eight movies, each with differing perspectives on the role of religion in individual lives and in communities and civilizations:
April 11 A Man For All Seasons, 1966 April 25 Elmer Gantry, 1960 May 9 Amazing Grace, 2006 May 23 Going My Way, 1944 June 13 The Robe, 1953 June 27 The Chosen, 1981 July 11 Doubt, 2008 July 25 Jesus Christ Superstar, 1973
An area of multiple panels for the 2016 Film & History Conference: Gods and Heretics: Figures of Power and Subversion in Film and Television October 26-October 30, 2016 The Milwaukee Hilton Milwaukee, WI (USA)
DEADLINE for abstracts: June 1, 2016 AREA: Divine Recognition
This area invites papers that explore and debate cinematic portrayals of spirituality and religion, ranging from subtle, permeating themes to examining explicitly devout characters and religious ritual. Ideal presentations will identify figures of piety that may include devout saints, fanatical zealots, or conniving charlatans; religious rituals may represent real-life traditions or fictional fabrications. This area welcomes the discussion of large-scale biblical epics, intimate spiritual journeys, and other themes that critically reflect on the intersection of faith and film.
A supernatural world full of mythical beings and musical songs set on East Carolina University’s campus comes alive tonight in Speight Auditorium.
“Through a Class Darkly,” a film written and directed by ECU professor Michael Tierno, takes a look at religion in an unconventional way. Tierno, creator of “Through a Class Darkly,” drew from his observations of religion to write the film.
“I’m obviously teaching in the Bible Belt and I’m sort of surrounded by a lot of faith based students,” said Tierno. “I’m more of an atheist myself. But I felt like it’s sometimes hard to feel all alone in the universe and these kids have faith and a lot of the rest of the world demonizes faith based people.”