Recent
Books on Faith & Film
A
complete bibliography on Faith & Film:
New
Books in 2000
Bryan P. Stone.
Faith and Film: Theological Themes at the
Cinema. St. Louis, MO: Chalice Press, 2000. 197 pages.
Peter Fraser
and Vernon Edwin Neal. ReViewing the Movies:
A Christian Response to Contemporary Film. Wheaton, IL: Crossway Books,
2000. 187 pages.
Sara Anson
Vaux. Finding Meaning at the Movies.
Nashville, TN: Abingdon, 1999. 224 pages.
Robert K.
Johnston. Reel Spirituality: Theology and
Film in Dialogue. Grand Rapids, MI: Baker, 2000. 236 pages.
Gire, Ken. Reflections on the Movies: Hearing God in
the Unlikeliest of Places. Colorado Springs, CO: Victor, 2000. 215 pages.
Forest, Ben,
with Mary Kay Mueller. God Goes to
Hollywood: A Movie Guide for the Modern Mystic. Lincoln, NE: Writers Club
Press (iUniverse.com), 2000. 269 pages.
“Movies do not
merely portray a world; they propagate a worldview” (Bryan Stone Faith and Film, p. 6). That assumption
underlies each of these thoughtful and accessible new books. Each assumes that
movies can illustrate Christian convictions and truth claims. Each also makes
it clear that the “faith claims of film must be challenged” and even “exposed
as inadequate, false, and even dehumanizing” (Stone, p. 8). All four authors approach
movies “dialogically,” that is, by recognizing ways in which movies either
illuminate our world and our lives with glimmers of transcendence or cast
shadows of brokenness and alienation. Two of the books are structured
thematically and can easily be used in groups (Vaux, Stone); two are designed
to teach the art of critical discernment (Fraser/Neal, Johnston). And Gire’s
book, written as a collection of thoughtful dialogues with specific movies, is
the easiest to read.
Stone’s book
grew out of his teaching as Professor of Evangelism at Boston University School
of Theology. Stone’s dialogue with the movies begins with each of fourteen
clauses from the Apostles’ Creed. Each chapter includes analysis of at least
one movie, reflection on the themes of the movie in dialogue with the Apostles’
Creed, discussion questions, and a list of movies that treat the same theme.
Highlighted movies include Contact; Oh,
God!; 2001: A Space odyssey; Jesus of Montreal; a trio of other Jesus
movies; Romero; One Flew Over the
Cuckoo’s Nest; Phenomenon; Powder; E.T.; Flatliners; Star Wars; The Mission;
Babette’s Feast; Dead Man Walking; and The
Shawshank Redemption.
Fraser and Neal
aim to teach Christians how to discern dramatic and cinematic excellence. They
suggest that good movies “should create or reflect a world that rings true, a
world fallen and in need of grace, a world in which the only hope for
resolution and individual salvation is
the gospel” (p. 34). An excellent film, in other words, tells the truth. To
discern that truth in contemporary film, the authors teach readers (1) how to
learn the language of film; (2) how to recognize “whatever is true;” (3) how to
reflect critically on the meaning hidden in the film’s genre; (4) how
thoughtful parents can make informed decisions; and (5) how movies have
borrowed theological themes to tell their stories. The book includes a 32 page
annotated list of “movie treasures”
organized by theme.
Vaux shows us
how to look for messages of value and meaning by examining both the content of a film and the ways that a
movie tells a story. Vaux reflects on
nineteen films organized around prominent themes: authenticity (Cries and Whispers; Secrets & Lies),
alienation (Contact; Star Trek; Blade
Runner; Solaris), integrity (Unforgiven;
The Searchers; Lone Star), vocation (Wall
Street; Diary of a Country Priest), purity of heart (Forrest Gump; La Strada; Sling Blade), celebration (Babette’s Feast; Daughters of the Dust; and
Ulee’s Gold), and healing (The
English Patient). Vaux includes only movies that, in her opinion, “attempt
to communicate a concept of a moral universe--a sense of order and meaning that
affects the ways we live on and with our earth; a search to determine right or
wrong behavior; and a grasp of how we should behave toward one another” (pp.
xi-xii). The book includes three appendices: practical advice on showing and
discussing films in groups, a list of additional films, and a glossary of film
terminology.
Johnston’s
volume is the most thorough and demanding of the five books. The book grew out
of Johnston’s course in Theology and Film at Fuller Theological Seminary. This
is the only book that includes a bibliography on theology and film (13 pages).
In two early chapters the book reflects on the power of film in our culture and
traces the history of the relationship between the church and Hollywood. After
sketching a variety of theological approaches to film criticism, Johnston
offers his own perspective on the relationship between theology and film and
offers readers practical tools for “becoming a (theological) film critic.” In
the final chapter Johnston applies his proposals to an analysis of the films of
Peter Weir (Dead Poets Society; Witness;
The Truman Show).
Gire’s
thoughtful, popularly written volume assumes that because we live in a visually
oriented culture, we do well to become critically aware of how movies influence
us, how they tell the truth and tell lies about our lives, and how we
appropriate their transforming potential. Above all, Gire is interested in
helping us become aware of the emotional power of movies. Through sharing of
his own intimate encounter with movies, Gire illustrates how to unpack their
emotional impact. The book includes reflections on: Bambi, Camelot, Amadeus, Field of Dreams, Ordinary People, Saving
Private Ryan, Smoke, Hoosiers, Hoop Dreams, The Elephant Man, The Dead Poets
Society, Amistad, Schindler’s List, and The
Wizard of Oz.
Forest’s God Goes to Hollywood offers brief
two-page reflections on one hundred movies that can be interpreted as “modern
parables, stories infused with spiritual lessons that tell us something about
our life and our relationship with God” (p. xiii). Each entry includes a plot
summary and a few paragraphs on “the message” of the film. Forest’s Christian perspective
is sprinkled with references to the Bible, other religious traditions and
contemporary “spiritualities.” Forest’s theological commentary assumes that we
watch movies so that they can teach us something.
New Books in 2001
Malone, Peter, with
Rose Pacette. Lights, Camera . . . Faith!
A Movie Lectionary. Cycle A. Boston, MA: Pauline Books and Media, 2001. 393
pages.
McNulty,
Edward. Praying the Movies: Daily
Meditations from Classic Films. Louisville, KY: Geneva Press, 2001. 168
pages.
Romanwoski,
William D. Eyes Wide Open: Looking For
God in Popular Culture. Grand Rapids, MI: Brazos, 2001. 171 pages.
We are living
in a movie culture, as these books attest. The question each book raises in its
own way is not whether we should watch movies, but how to relate our Christian
faith to the movies that many of us are already watching.
Malone’s Movie Lectionary is a delightful
resource that bridges the biblical texts in the Common Lectionary with
seventy-two contemporary movies. Each chapter includes six sections: a synopsis
that highlights characters, plot and sequence; commentary on the movie with
information about actors, directors, producers and related films; dialogue with
the gospel, reflecting on how the movie and its themes relate to the biblical
text; a summary of key scenes and themes; questions for reflection and
conversation; and a concluding prayer. The Appendix includes a Movie Ratings
Chart.
McNulty’s Praying the Movies is a collection of
thirty-one devotional reflections on movies that resonate with the theological
theme of grace. These films are what McNulty considers the “saving remnant” of
the several hundred films released each year, the films with a “treasure in
earthen vessels,” and the films that will help us to develop “eyes that see and
ears that hear.” Each section includes six parts: a selection of Scripture
passages; an introduction to the plot; description of a key scene; reflection
on the scene that includes theological interpretation; questions for further
reflection or group discussion; and a prayer.
Romanowski’s Eyes Wide Open offers Christian readers
a critical and constructive perspective on the popular arts and culture.
Romanowski hopes that Christians will become communities “capable of
discernment and active interpretation” (p. 32). Although not interested in
“moral legalism,” Romanowski calls for a “Christian criticism” that provides
“rigorous tools for analysis” of popular artworks of various perspectives, that
is able “to evaluate productions that are intentionally ‘Christian’,” and that
offers thoughtful reflection on Christian worldviews as it “addresses
substantive personal, social, and cultural issues” (p. 145). One of the best
things about the book is Appendix One, a study guide called “A Matrix for Analysis
of Popular Artworks.” In Appendix Two Romanowski illustrates his critical
method with an analysis of The Titanic.
Other Helpful Books
(some new in 2002)
Baugh, Lloyd. Imaging the Divine: Jesus and Christ
Figures in Film. Kansas City, MO: Sheed & Ward, 1997.
Cunningham, David S. Reading
is Believing: The Christian Faith through Literature and Film. Grand
Rapids, MI: Brazos, 2002.
Fraser, Peter. Images of the Passion: The Sacramental
Mode in Film. Westport, CT: Praeger
Publishers, 1998. (88 Post Road West, Westport, CT, 06881).
Fraser, Peter and
Vernon Edwin Neal. Reviewing the Movies : A Christian Response to
Contemporary Film. Focal Point Series. Crossway Books, 2000.
Godawa, Brian. Hollywood
Worldviews: Watching Films With Wisdom & Discernment. Downers Grove,
IL: InterVarsity, 2002.
Jewett, Robert. Saint Paul at the Movies: The Apostle’s
Dialogue with American Culture.
Louisville, KY: Westminster John Knox Press, 1993. Discussion of Star Wars, Amadeus, A
Separate Peace, Tender Mercies, Grand Canyon, Tootsie, Ordinary People, Epire
of the Sun, Pale Rider, Red Dawn, Dead Poets Society.
________. Saint Paul Returns to the Movies: Triumph
Over Shame. Grand Rapids: Eerdmans,
1998. Discussion of The Prince of
Tides, Babette’s Feast, Forrest Gump, Mr. Holland’s Opus, Groundhog Day, Babe,
Edge of the City, The Firm, Unforgiven, The Shawshank Redemption.
Marsh, Clive and Gaye
W. Ortiz. Explorations in Theology
and Film: Movies and Meaning.
Oxford: Blackwell, 1997. Essays
on the following movies: The Piano, Shane, Edward Scissorhands, Terminator,
Groundhog Day, Dead Poets Society, The Mission, The Name of the Rose, Priest,
Shirley Valentine, Babette’s Feast, Awakenings, as well as topics like
Martin Scorsese, Jesus Movies, Feelgood movies.
Martin, Joel W. and
Conrad E. Ostwalt, Jr., eds. Screening
the Sacred: Religion, Myth, and Ideology in Popular Film. Boulder, San Francisco, Oxford: Westview
Press, 1995. Contains essays on Psycho
and Blood Simple, Ironweed, Platoon, Apocalyptic themes in
Movies, Star Wars, Alien/Aliens, Rocky, Blue Velvet.
Miles, Margaret
R. Seeing and Believing: Religion
and Values in the Movies. Beacon
Press, 1996.
Sanders, Theresa. Celluloid
Saints: Images of Sanctity in Film. Macon, GA: Mercer University Press,
2002.
Scott, Bernard
Brandon. Hollywood Dreams and
Biblical Stories. Minneapolis, MN:
Fortress, 1994.
Stern, Richard C.,
Clayton N. Jefford, Guerric DeBonna. Savior on the Silver Screen. New
York: Paulist, 1999.
Stone, Bryan P. Faith
and Film: Theological Themes at the Cinema. St. Louis, MO: Chalice Press,
2000.
Tatum, W. Barnes. Jesus at the Movies: A Guide to the First
Hundred Years. Santa Rosa, CA:
Polebridge Press, 1997.
Gordon Matties, Associate
Professor of Biblical Studies & Theology at Canadian
Mennonite University (Winnipeg), teaches a course on Film, Faith and
Popular Culture. Readers interested in discovering a wide range of
Christian perspectives and theological resources on faith and film are welcome
to visit the Movie Theology
webpage, with links to resources on faith and film.