The Fantastic of the Everyday: Re-Forming Definitions of Cinematic Parables with Paul Ricoeur
Recent publications on theology and film attempting to explain what a parable is remain less clear about how or why a parable works for cinema, and many definitions do not fully take into account the formal dynamics of film qua film nor parable qua parable. I seek to demonstrate the benefits of a mo...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
[2020]
|
| In: |
Horizons
Year: 2020, Volume: 47, Issue: 2, Pages: 283-314 |
| IxTheo Classification: | KAJ Church history 1914-; recent history RA Practical theology VB Hermeneutics; Philosophy |
| Further subjects: | B
theocinematics
B Paul Ricoeur B film and theology B Parable B Allegory B Hermeneutics B Theological Aesthetics B Metaphor |
| Online Access: |
Volltext (Publisher) Volltext (doi) |
| Summary: | Recent publications on theology and film attempting to explain what a parable is remain less clear about how or why a parable works for cinema, and many definitions do not fully take into account the formal dynamics of film qua film nor parable qua parable. I seek to demonstrate the benefits of a more precise conception of cinematic parables by utilizing philosopher Paul Ricoeur's understanding of "parable" to make theological interpretations of film that take audio-visual aesthetics into consideration. I conclude with three recent examples of cinematic parables in order to demonstrate this Ricoeurian parabolic hermeneutic: Asghar Farhadi's Iranian melodrama, A Separation (2011), American filmmaker Anna Rose Holmer's enigmatic The Fits (2016), and Aki Kaurismäki's droll Finnish comedy, The Other Side of Hope (2017). Ultimately, I make a case for film as theology, what I am calling "theocinematics." |
|---|---|
| ISSN: | 2050-8557 |
| Contains: | Enthalten in: Horizons
|
| Persistent identifiers: | DOI: 10.1017/hor.2020.104 |
