There are topic and film-specific chapters that take a theological approach, and others that explore ideas like Affect, Axiology, Art Reflecting the Artist and Transcendence Spirituality of Film. Hermeneutics also have a central role in the book, including films based on biblical texts that act as interpretations of these texts and fill in the blanks albeit speculatively by way of script and directors.
Chapters also explore the philosophy of aesthetics and film realism which end with theology, while other chapters explore the incompatibility of science with religion, as well as a chapter on the timely topic of rape in Turkish film. This book represents international films and scholars. The diverse perspectives from theist to atheist—and everything in-between—are sure to spark thinking and generate talking points that provide something for everyone in an accessible format.
It will be of great interest to university students and professors, scholars, seminaries, and the general public. The overview concludes with a reflection on theories and methodologies of the field and some possibilities for future development.
Now available in paperback, the Bloomsbury Companion to Religion and Film covers all the most pressing and important themes and categories in the field - areas that have continued to attract interest historically as well as topics that have emerged more recently as active areas of research. Twenty-nine specifically commissioned essays from a team of experts reveal where important work continues to be done in the field and provide a map of this evolving research area.
Featuring chapters on methodology, religions of the world, and popular religious themes, as well as an extensive bibliography and filmography, this is the essential tool for anyone with an interest in the intersection between religion and film. Philosophy, Film, and the Dark Side of Interdependence argues that philosophy can outline the contours of dark specter of interdependence and that film can shine a light on its shadowy details, together revealing a horror of relations.
The contributors interrogate the question of interdependence through analyses of contemporary film, giving voice to new perspectives on its meaning. Conceived before and written during the COVID pandemic and through a period of deep social unrest, this volume reveals a reality both perennial and timely.
As well as discussing the films in detail, they are considered in relation both to the issue of film authorship and a period of American cinema marked by crisis and change. Looking at both Scorsese's film-making and the debates surrounding film authorship, this book is also about American film making in the sixties and seventies - about, in short, authorship and context.
Recent years have witnessed an ever-increasing number of film theorists, critics and philosophers taking up the challenge to decipher what these films actually mean. This seminal text analyzes the film style of three great directors-Yasujiro Ozu, Robert Bresson, and Carl Dreyer-and posits a common dramatic language used by these artists from divergent cultures.
This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film.
Back cover copy "A welcome opportunity to revisit one of the few essential works of film theory. You can take issue with Schrader's categories and critera and argue with him as you go, but it's the ground on which the exchange between author and reader occurs that matters most.
By exploring and identifying the territory of the transcendental, Paul Schrader and his groundbreaking text illuminate what is most precious in the cinema and, by extension, in art itself.
A well-read copy should be in every cinephile's library. Morefield, Professor of English, Campbell University "As a materialist, I have issues with a transcendental approach toward style, even while supporting Paul Schrader's critical gifts and his passionate interest in three of my favorite filmmakers.
But in his new introduction, his observations about slow cinema from Tarkovsky to Kiarostami to Tarr are every bit as compelling as his earlier insights into film noir. His new introduction linking transcendental style to the time-images of Deleuze and Tarkovsky, as well as slow cinema, which followed, only adds to its importance.
A must read! Johnston, Professor of Theology and Culture, Fuller Theological Seminary, and author of Reel Spirituality: Theology and Film in Dialogue "Before most of us, Paul Schrader sensed, deep in the bones of cinematic form, a potential for spiritual expression.
This seminal work has set the terms of the film and religion discussion for decades now. Whether you are fully persuaded by his argument or not, Schrader compels you to take both cinematic form and the impulse toward transcendence seriously. This book remains essential. Kickasola, Professor of Film and Digital Media, Baylor University, and author of The Films of Krzysztof Kieslowski: The Liminal Image "Paul Schrader's Transcendental Style in Film was a work of striking originality when it appeared some forty-five years ago, all the more remarkable for having been written by a twenty-four-year-old.
Though the term 'transcendental style' was in the air, no one before Schrader had identified and analyzed the style with such acuity and depth as he did, and with such wide acquaintance with the relevant literature of philosophical aesthetics and film theory.
Since then, the book has become a classic in the history of film theory; its re-issuance, with a lengthy new introduction by Schrader, is welcome. The new introduction is titled 'Rethinking Transcendental Style, ' but it turns out that everything Schrader wrote forty-five years ago about transcendental style has stood the test of time.
What the new introduction does is set transcendental style within the context of the proliferation in recent decades of anti-narrative 'slow films.
This book is essential for anyone interested in the means by which narrative film can encourage spectators to 'lean into' the film, to experience contemplation and the transcendent.
With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment.
This seminal text analyzes the film style of three great directors—Yasujiro Ozu, Robert Bresson, and Carl Dreyer—and posits a common dramatic language used by these artists from divergent cultures. This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film. This work will become not only the newly definitive study of Kurosawa, but will redefine the field of Japanese cinema studies, particularly as the field exists in the west.
Offers the first comprehensive academic text to explore Paul Schrader's film career through analysis of his directing, screenwriting, and film criticismContains a chapter-length interview, in which Schrader examines the arc of his career for the first time and revises previous statements about filmmaking and film criticismProvides a valuable update to previous texts on SchraderConsiders Schrader's overlooked films and provides new insight into their connections with Schrader's better known filmsContains chapters on Schrader's work since , the publication date of the last book on his filmmakingPaul Schrader's unique relationship to the role of the author as screenwriter, director and critic has long informed his cinema, and raises complicated questions about the definition of the auteur.
This volume of essays - one of the first collections to assess Schrader's contributions to directing, screenwriting and criticism - includes the first original appraisals of his much-lauded masterpiece First Reformed , as well as a chapter-length interview with Schrader himself, conducted by the editors.
Providing a comprehensive exploration of his groundbreaking achievements in cinema, the book considers Schrader's more overlooked films and provides new insights to their connection with his celebrated work in direction and screenwriting such as Taxi Driver , Cat People and The Comfort of Strangers Proposing a relationship between Levinasian ethics and film style, and bringing it into a productive dialogue with theories of performativity, this book explores this influence through three directorial bodies of work: those of Barbet Schroeder, Paul Schrader and the Dardenne Brothers.
It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West.
By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined. A short, accessible introduction to religious film, exploringthe genre as spectacle, as musical, and as controversy Examines the historical, cultural and critical background forreligious films from the silent era through to the presentday Introduces the complexities and characteristics of this iconicgenre of film, including common sounds and images, and the valuesthat most traditional films of this kind uphold.
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