Download Bible and Cinema: An Introduction by Adele Reinhartz PDF

By Adele Reinhartz

This can be a complete advent to the ways that the Bible has been used and represented in mainstream cinema. Adele Reinhartz considers the pervasive use of the Bible in characteristic motion pictures, and the medium of movie as a part of the Bible’s reception background. The e-book examines how motion pictures draw at the previous and New testomony and the determine of Jesus Christ in numerous direct and oblique how you can advance their plots, characters, and subject matters. in addition to videos that set out explicitly to retell biblical tales of their historical context, it

explores the ways that modern, fictional characteristic movies utilize biblical narrative.

Topics coated include:

•how filmmakers utilize scripture to deal with and mirror their very own time and place.
•the Bible as a car by which movies can handle social and political concerns, replicate human stories and feelings, discover existential matters akin to evil and dying, and show topics reminiscent of destruction and redemption.
•the function of the Bible as a resource of ethics and morality, and the way this connection is either perpetuated and undermined in more than a few modern Hollywood motion pictures.
•films that create an event of transcendence, and the ways that the Bible figures in that experience.

Reinhartz bargains insightful research of diverse movies together with The Ten Commandments and The Shawshank Redemption, taking note of visible and aural components in addition to plot, personality, and discussion. scholars will locate this a useful consultant to a turning out to be field.

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Extra resources for Bible and Cinema: An Introduction

Example text

Instead, she became a priestess charged with preparing other young girls to serve as sacrifices to Chemosh. In the course of her duties, she met the Judean goldsmith Mahlon, son of Naomi and Elimelech. Mahlon had the distasteful task of fashioning the gold crown that the chosen maiden was to wear on the day of her sacrifice. Mahlon and Ruth fell in love and pledged their troth, but he died before their marriage could be consummated (thereby ensuring that Ruth was a virgin when she later married Boaz).

Why does David stay home during the season that kings go out to war? Does Bathsheba know that David can see her from his rooftop? Is she complicit in the affair or politically powerless to reject the king’s illicit advances? 51 It is a gaze that sets the epic events in motion: David “saw from the roof a woman bathing; the woman was very beautiful” (11:2). The king did not merely glance at Bathsheba. No, he looked at her long enough to register her beauty, to feel his own desire, and to act accordingly, consequences be damned.

Even the great prophet Moses has a triangulated romantic entanglement – completely absent from the biblical account – foisted upon him. In The Ten Commandments (1956), both Moses and his brother Ramses II are in love with the (fictional) princess Nefretiri. But Moses, in contrast to the later Israelite kings David and Solomon, has the ability to set aside his feelings in order to pursue higher goals. Initially he leaves Nefretiri when he must escape Egypt before he is caught and punished for killing an Egyptian.

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