Parabolic Transcendence in Time and Narrative: Shane Carruth’s Shane Carruth’s PRIMER (US 2004) and UPSTREAM COLOR (US 2013) as Post-Secular Sci-Fi Parables
Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA, 2013). In this, I contend that both Primer and Upstre...
| Published in: | Journal for religion, film and media |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Institut f. Fundamentaltheologie
[2020]
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| In: |
Journal for religion, film and media
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| Standardized Subjects / Keyword chains: | B
Primer
/ Upstream Color
/ Ricœur, Paul 1913-2005
/ Post-secularism
/ The Sacred
/ Transcendence
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| IxTheo Classification: | AG Religious life; material religion AZ New religious movements |
| Further subjects: | B
Paul Ricoeur
B Transcendence B Film-Theology B Parable B Shane Carruth B Time Travel B Post-secular |
| Online Access: |
Volltext (doi) Volltext (kostenfrei) |
| Summary: | Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA, 2013). In this, I contend that both Primer and Upstream Color are post-secular cinematic parables per philosopher Paul Ricoeur’s description of parable: the conjunction of a narrative form and a metaphorical process, addressing the religious via non-religious discourse. Interpreting these two films through a Ricoeurian parabolic hermeneutic addresses their mutual transcendence in and through time and narrative via their striking visual and auditory aesthetics, the use of montage in their nonlinear narratives, and the depiction of invisible relational connections between the films’ protagonists. I conclude that Carruth’s post-secular cinema resides in an in-between space: between the secular and the religious, realism and expressionism, immanence and transcendence. |
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| ISSN: | 2617-3697 |
| Contains: | Enthalten in: Journal for religion, film and media
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| Persistent identifiers: | DOI: 10.25364/05.06:2020.1.2 |