Revelation of God through Film: Theological Aesthetics and Beauty as Transcendental Applied to Films of Terrence Malick and Andrey Zvyagintsev
God cannot be viewed and cannot be comprehended, but is there a possibility of God being revealed through a film? There are several ways used by the Church to represent God in worship: worship through singing or music, visual worship through icons, and participation in dramatic performance. In this...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
International Baptist Theological Study Centre
[2019]
|
| In: |
Journal of European Baptist Studies
Year: 2019, Volume: 19, Issue: 2, Pages: 51-65 |
| Standardized Subjects / Keyword chains: | B
Malick, Terrence 1943-
/ Zviagintsev, Andrei 1964-
/ Film
/ God
/ Theology
/ Aesthetics
|
| IxTheo Classification: | CD Christianity and Culture KAJ Church history 1914-; recent history NBC Doctrine of God |
| Further subjects: | B
Beauty
B aesthetic theology B God in film B Interpersonal |
| Online Access: |
Volltext (doi) Volltext (kostenfrei) |
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| 520 | |a God cannot be viewed and cannot be comprehended, but is there a possibility of God being revealed through a film? There are several ways used by the Church to represent God in worship: worship through singing or music, visual worship through icons, and participation in dramatic performance. In this study, the methodology of finding God in films is suggested and applied to some films. It is based on works on theological aesthetics by John Panteleimon Manoussakis and David Bentley Hart. The films of Terrence Malick and Andrey Zvyagintsev are used as examples. One of the main ideas of this study is related to viewing God through Jesus as God who can be comprehended (in some way) and incorporating Christological reading of reality into film analysis. There is also a strong emphasis on the interpersonal dimension of film experience as theological aesthetic experience. | ||
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