By J. Cheryl Exum
Exploring the interface among the Bible and picture deals interesting possibilities for either biblical students and moviegoers alike. The 11 individuals to this provocative and wide-ranging assortment deal severely and creatively either with motion pictures in regards to the Bible and biblical characters, together with the new arguable the eagerness of the Christ, and with a variety of modern motion pictures within which biblical subject matters play an important, and occasionally miraculous, position. initially released as factor 1-2 of quantity 14 (2006) of Brill's magazine Biblical Interpretation.
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Extra resources for The Bible in Film, the Bible and Film
46 John McClane is reunited with his estranged wife precisely through his heroic fortitude in the face of immense suffering and pain. One is also reminded of the “reappearance” of the John McClane character-type (played again by Bruce Willis) in the movie Armageddon (1998), where Harry Stamper confronts the “evil” of an asteroid. As he is about to face a martyr’s death in order to save the world, his daughter makes visual contact with him, affirming the worthiness of his formal sacrifice by offering her undying love for her father.
Jesus and Mel Gibson’s “The Passion”, pp. 151-59. 29 Baudrillard, Simulacra and Simulation, p. 5. Elsewhere Baudrillard describes this phenomenon thus: “the becoming-real, the becoming-absolutely-real, of something which until then was treated metaphorically, or had a metaphorical dimension” (Passwords [trans. C. Tuner; London: Verso, 2003], p. 27). Cf. Theodor Adorno: “Reality becomes its own ideology through the spell cast by its faithful duplication” (“The Schema of Mass Culture,” in Adorno, The Culture Industry: Selected Essays on Mass Culture [ed.
In 7 Henceforth, I include the films by Arcand and Jones in the discussion. 44 richard walsh Jewison’s light, we may look back and notice that almost all Judases, in film and in gospel, are divine victims. Most are created by the supper prediction (not in Jones, Arcand, Scorsese). By contrast, Greene and Scorsese’s Judases are hardly divine victims. They act in concert with and obedience to Jesus. The other traditional motivation is greed (Olcott, DeMille, Pasolini, Arcand). The notion of greed, however, clearly troubles the capitalist DeMille, so he makes his overweening Judas desire aristocratic, exotic—not good middle-class—wealth.