228 Pages
by
Routledge
226 Pages
by
Routledge
226 Pages
by
Routledge
Also available as eBook on:
Cinema, Religion and the Romantic Legacy surveys the ways in which notions of religion and spirituality have impinged upon the cinema. Cinema is conceived as a post-Romantic form for which religion and spirituality can be unified only problematically. While inspecting many of the well-established themes and topoi of writing on religion and film (such as films about priests and 'Christ-figures') it... Read more
Contents: Introduction; Romanticism and religion: from horror to the sublime; The limits of representation; Supernatural persons; Aspects of popular religion; Spirituality and religion: from the Eastern Bloc to the USA; Appendixes; Index.
Biography
Paul Coates
'A fascinating book, which explores with admirable competence and incisiveness the process of estrangement of religion and spirituality in the cinema, locating its source in the post-romantic era. Coates offers his reader a unique opportunity to trace in films, spanning a century of world film production, the cinematic presentations of God, the Devil, ghosts and other participants of religious discourse. The book contains brilliant, profound analyses of a wide spectrum of films, including productions by Lang, Godard, Kieslowski, Tarkowski, Herzog and many others.'Miroslaw Przylipiak, Professor of film and media studies, University of Gdansk, Poland 'This is a very perceptive analysis of the manner in which spiritual and religious themes have impacted upon movies over the decades... Covering a huge wingspan, it tackles everything from 'Frankenstein' to 'The Usual Suspects', starring our own Gabriel Byrne, to 'Taxi Driver'.' Modern Woman 'One of the incontestable pleasures of reading [Paul Coates] is the wide range of his learning, his command of languages, and the risks he takes in applying everything he knows to film... His book is [...] one of the few on religion and film worth reading and a true tonic to reading theologians writing on cinema... His skill in negotiating the eddies of sometimes gnomic filmmakers in religious terms is one of the chief merits of a book that offers corrective readings of many films that have been interpretively abused by their admirers as often as by their detractors.' Canadian Journal of Film Studies
