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...

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Bibliographic Details
Published in:Horizons
Main Author: Mayward, Joel ca. 20./21. Jh. (Author)
Format: Electronic Article
Language:English
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Published: Cambridge Univ. Press [2020]
In: Horizons
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
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Description
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