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...
| Опубликовано в: : | Horizons |
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| Главный автор: | |
| Формат: | Электронный ресурс Статья |
| Язык: | Английский |
| Проверить наличие: | HBZ Gateway |
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Опубликовано: |
Cambridge Univ. Press
[2020]
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| В: |
Horizons
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| Индексация IxTheo: | KAJ Новейшее время RA Практическое богословие VB Герменевтика ; Философия |
| Другие ключевые слова: | B
theocinematics
B Paul Ricoeur B film and theology B Parable B Allegory B Hermeneutics B Theological Aesthetics B Metaphor |
| Online-ссылка: |
Volltext (Verlag) Volltext (doi) |
| Итог: | 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." |
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| ISSN: | 2050-8557 |
| Второстепенные работы: | Enthalten in: Horizons
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| Persistent identifiers: | DOI: 10.1017/hor.2020.104 |