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The religious imagination is alive and well in the movies. Contrary to those who criticize Hollywood, popular movies very often have metaphorically represented God on the screen. From Clint Eastwood as an avenging angel in Pale Rider and Nicolas Cage as a love-sick angel in City of Angels, to Jessica Lange as an angel of death in All That Jazz, and from George Burns as God in Oh God! to Audrey Hepburn in Alwaysto pure white light in Fearless and Flatliners, God is very much present in the movies. Images of angels and God used by movie makers are explored here.
This intelligent, insightful volume is an exercise in urban anthropology. Religious imagination is the subject and the movie house is its location. The authors show that the religious imagination is irrepressible, and shows up in our best-known example of popular cultures, movies. Contrary to conservative opinion that suggests that Hollywood is anti-religious, Greeley and Bergesen find just the opposite. Ordinary movies, not explicitly about religion and not made by particularly religious individuals often demonstrate some basic religious theme, point, or message. God in the Movies does not judge or approve, recommend or criticize; the authors simply alert the reader to the great variety of metaphors for God, angels, heaven, and hell, from beautiful women to white light at the end of the tunnel to Groundhog Day. They are not concerned with explicitly religious movies. This is not a study of Ben Huror The Last Temptations of Christ, but rather of ordinary mass-release movies, including Field of Dreams, Always, All That Jazz, Commandments, Babette's Feast, Fearless, Breaking the Waves, Jacob's Ladder, Flatliners, Ghost, Pale Rider, Star Wars, 2001, Dogma, and even Japanimation, like Ghost in the Shell.
The authors' vivid explication of various cinematic metaphors for God is accompanied by an analysis of what these movies tell about our sociological attitudes toward life and death. They also discuss the social conditions that give rise to various kinds of imagery and forms of movies. In a real sense, this book is for both the professional concerned with religion, sociology, cultural studies, anthropology, media and cinema studies, and the layperson interested in how popular movies also contain religious imagery.
- Sales Rank: #1818459 in Books
- Published on: 2003-01-06
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .46" w x 5.98" l, .72 pounds
- Binding: Paperback
- 196 pages
Review
“After a divinely inspired preface by critic Roger Ebert, Bergesen (sociology, Univ. of Arizona) and Greeley (social sciences, Univ. of Chicago) exegete popular Hollywood films (e.g., Ghost) and several international works to demonstrate that movies are about something ultimate and important. The authors combine their talents to tease out theological themes and symbols, and each separately examines specific films that image "God," analyzing what "She" might look like through these celluloid narrative forms… [T]his likeable and affirming therapeutic work recognizes the rich values of story, the problem of evil, divine intervention and disclosure, and grace… Recommended for general readers.”
—T. Lindvall, Choice
About the Author
Andrew M. Greeley (1928-2013) was a Catholic priest, best-selling novelist, and sociologist. He was professor of social science at the University of Chicago and member of its National Opinion Research Center (NORC). His books include Faithful Attraction, The Denominational Society, Unsecular Man, Death and Beyond, and The Church and the Suburbs.
Albert J. Bergesen is professor of sociology at the University of Arizona. He has written extensively on the sociology of art and culture. He is editor of Studies of the Modern World-System; Cultural Analysis, with Robert Wuthnow, Edith Kurzweil, and J. Hunter; and America's Changing Role in the World-System, with T. Boswell.
Most helpful customer reviews
0 of 0 people found the following review helpful.
God in the Movies
By Bee Gee
Excellent resource for a course on seeing evidence of God and the spiritual in non-religious movies. The book introduced me to movies I would not otherwise have viewed. Greeley is always a good read and expresses an insight not seen elsewhere.
0 of 1 people found the following review helpful.
A hodgepodge of criticism and theology
By Stephen Pepple
In God and the Movies, Bergson and Greeley posit that God is portrayed in micro and macro ways in film. The macro portrayals of God are often epic Science Fiction and Fantasy movies, Star War being a prime example. The macro God is also cast in films with elements of magical realism they say:
"The God of magical realism is a God of enormous power, a God who can make bells ring even when there are no bells, a God how causes a spring garden to bloom overnight despite the snow, a God who saves a drowning man in a body of a whale, a God who can send the dead back to free a survivor of paralyzing grief."
At first, I was lost in a discussion of magical realism because I only know this term in the literary sense, in the writings of Angela Carter or Garcia Marquez, but the writers go on to include films such as Like Water for Chocolate and What Dreams May Come, which seem more compatible with the term. Bergson and Greely's point is that god-like forces, and evil forces, are revealed in both small and fantastic situations in films like Star Wars. The small revelations, like the moment "[w]hen Luke turn off his targeting computer and opened himself to pray for God's help," as Overstreet writes, taught us how to pray. An then there's the big picture, which Anker writes about:
"Obi-Wan is after nothing less than the defeat of Darkness[sic]12 itself, the metaphysical power that seeks to destroy all that is good in the world."
Additionally, Anker has a nice way of explaining the spiritual significance of the trilogy of the 1970 and 80s in contrast with the 2000s trilogy: "The future of the Star Wars saga lies in its past... [T]he first of the original trilogy to be filmed showed how light comes out of darkness. The trilogy now underway shows how darkness emerges from light, how people and societies come to lose harmony and hope." Why is it, though, that even in epic films the largest displays of spirituality are usually the darkest ones-- the portrayal of evil? Why is it that God does not, in the world we live in, reveal his light in miracles or any other heuristic events? Why must Christians insist of things like the resurrection, the virgin birth, and the intelligent design of the universe? Or as Lars Von Trier13 wonders ,
"The general assumption is that all people are able to differentiate more or less equally between good and evil. But if this is the case, why does the world look like it does? Why have all the good intentions of my parents come to nothing. And why do my own good intentions lead to nothing?"
I'll leave these question aside, beside having just asked them. But I must point out that majority of Christian criticism is not about the beauty and truth of God in film, but rather about the absence of God.
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