Blessed Broken Bodies: Exploring Redemption in Central Station and Breaking the Waves
I focus specifically on the theme of redemption as it is presented in two very different films: Walter Salles' moving Central Station (1998) from Brazil and Dane Lars Von Trier's haunting Breaking the Waves (1996). The former provides us with a tale of dual redemption while the latter film...
| Autore principale: | |
|---|---|
| Tipo di documento: | Elettronico Articolo |
| Lingua: | Inglese |
| Verificare la disponibilità: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Pubblicazione: |
2004
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| In: |
The journal of religion and film
Anno: 2004, Volume: 8, Fascicolo: 2 |
| Accesso online: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a I focus specifically on the theme of redemption as it is presented in two very different films: Walter Salles' moving Central Station (1998) from Brazil and Dane Lars Von Trier's haunting Breaking the Waves (1996). The former provides us with a tale of dual redemption while the latter film reinterprets the power of bodily redemption as Bess uses her body to broker salvation and healing for her paralyzed husband. Both these films force the viewer to critique traditional notions of redemption and revision alternatives. Both have broken women's bodies as pivotal symbols/events in the story and both affirm feminist theology's emphasis on this this-worldly redemption, rather than an eschatological disembodied reunion with God in the heavenly realms. This paper was originally presented at the AAR Annual Meeting in Religion, Film, and Visual Culture Group on November 19, 2001 in Denver, Colorado | ||
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