Sensing Religion in Alfonso Cuarón's Children of Men
This essay attends closely to the affective excess of Children of Men, arguing that this excess generates two modalities of religionnostalgic and emergentprimarily through a sensitive use of color and music. These affective religious modalities are justly termed religion not only because they ar...
| 發表在: | Religions |
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| 主要作者: | |
| 格式: | 電子 Article |
| 語言: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | 載入...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| 出版: |
MDPI
[2015]
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| In: |
Religions
Year: 2015, 卷: 6, 發布: 4, Pages: 1433-1456 |
| Further subjects: | B
Children of Men
B emergent religion B Affect |
| 在線閱讀: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
| 總結: | This essay attends closely to the affective excess of Children of Men, arguing that this excess generates two modalities of religionnostalgic and emergentprimarily through a sensitive use of color and music. These affective religious modalities are justly termed religion not only because they are sutured to overtly Christian names, images, and thematics, but also because they signal the sacred and transcendence, respectively. The essay reads the protagonist, Theo Faron (Clive Owen), as navigating these two modalities of religion, not as a hero but as what Giorgio Agamben terms whatever-being. Noting Theo's religious function draws attention to transformations of political being and human hope. |
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| ISSN: | 2077-1444 |
| Contains: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel6041433 |