By Adele Reinhartz
It is 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 historical past. The ebook examines how motion pictures draw at the previous and New testomony and the determine of Jesus Christ in a number of direct and oblique how you can improve their plots, characters, and topics. 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 lined include:
•how filmmakers utilize scripture to handle and replicate their very own time and place.
•the Bible as a motor vehicle wherein motion pictures can tackle social and political concerns, mirror human stories and feelings, discover existential concerns corresponding to evil and demise, and show topics equivalent to destruction and redemption.
•the position of the Bible as a resource of ethics and morality, and the way this connection is either perpetuated and undermined in quite a number modern Hollywood movies.
•films that create an event of transcendence, and the ways that the Bible figures in that experience.
Reinhartz deals insightful research of various movies together with The Ten Commandments and The Shawshank Redemption, being attentive to visible and aural components in addition to plot, personality, and discussion. scholars will locate this a useful consultant to a transforming into field.
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Extra info for Bible and Cinema: An Introduction
She and the Pharaoh of Egypt scheme to bring about Israel’s downfall: Sheba will seduce the king Solomon and then betray him to the Pharaoh. The inevitable ensues: Sheba falls in love with Solomon and turns from her life of hedonistic idolatry to the austere worship of the true God of Israel. Add romance and stir Few ﬁlms today satisfy Hollywood’s romantic imperative as grandiosely as these epics of the 1950s, leaving us sighing at the fulﬁlment of love that comes at the end of a steady build-up of red-hot but chaste romance between an impossibly attractive, shapely and often exotic woman, and her handsome, well-built, charming suitor.
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). This lengthy backstory ﬁlls in the gap between the ﬁrst verse of Ruth, in which Naomi, her husband and two sons leave Bethlehem for Moab, and the ﬁfth verse, when Naomi decides to return to Bethlehem.
Jewish liturgy For those viewers familiar with Jewish practice, this opening image from The Story of Ruth evokes not only the Bible but also its liturgical context as a synagogue reading during the Feast of Weeks. Jewish liturgical practice is also implied in Solomon and Sheba, in which a trained male cantorial voice intones the traditional prayer for recovery from illness in David’s deathbed scene, and, later, chants the traditional mourning prayer at Abigail’s funeral. This aural device is anachronistic.