By Adele Reinhartz
This can be a finished advent to the ways that the Bible has been used and represented in mainstream cinema. Adele Reinhartz considers the pervasive use of the Bible in characteristic movies, and the medium of movie as a part of the Bible’s reception historical past. The publication examines how motion pictures draw at the outdated and New testomony and the determine of Jesus Christ in a variety of direct and oblique how you can enhance their plots, characters, and subject matters. in addition to videos that set out explicitly to retell biblical tales of their old context, it
explores the ways that modern, fictional characteristic motion pictures utilize biblical narrative.
Topics coated include:
•how filmmakers utilize scripture to deal with and mirror their very own time and place.
•the Bible as a automobile during which movies can deal with social and political matters, mirror human reports and feelings, discover existential matters comparable to evil and loss of life, and exhibit issues corresponding to destruction and redemption.
•the function of the Bible as a resource of ethics and morality, and the way this connection is either perpetuated and undermined in quite a number modern Hollywood movies.
•films that create an adventure of transcendence, and the ways that the Bible figures in that experience.
Reinhartz deals insightful research of diverse motion pictures together with The Ten Commandments and The Shawshank Redemption, being attentive to visible and aural components in addition to plot, personality, and discussion. scholars will locate this a useful advisor to a becoming field.
Read or Download Bible and Cinema: An Introduction PDF
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Extra info for Bible and Cinema: An Introduction
72 DeMille’s representation of Sephora, Moses’ wife, is another missed opportunity to address this theme directly. According to Exodus, Sephora, or Zipporah as she is more commonly referred to (Exod. 2:21), is the daughter of a Midianite priest (Exod. 2:16). Numbers 12:1, however, refers to Moses’ wife as a Cushite, the biblical term for Ethiopian, in other words, as black. In the context of biblical society it is plausible that Moses had a Cushite wife in addition to the Midianite Zipporah, but later sources, imagining Moses as monogamous, identify Zipporah herself as the Cushite (Midrash Tehillim 7:18).
The text acknowledges that the ﬁlm has taken artistic and historical liberties with the Bible, but nevertheless claims that the ﬁlm is “true to the essence, values and integrity” of the Exodus story. The ﬁlmmakers can thereby sidestep the charge of inﬁdelity often levelled at Bible movie makers, while nevertheless asserting their ﬁlm’s essential truth. In doing so they also refrain from imputing any authority, biblical or otherwise, to their ﬁlm, and to the Bible itself, even as they acknowledge the moral and spiritual authority that “millions of people worldwide” ascribe to the book of Exodus.
Often this majestic sound and the main musical motifs of the score are established in the opening credits, and function to establish a tone of reverence by associating the ﬁlm with classical religious and church music. 39 Art DeMille was the director perhaps most committed to authenticity, not historicity per se but an aura of authenticity that would appeal to the viewer. He made skilful use of allusionism by drawing on elements that would have been familiar to many audiences. For example, the visual design of the 1956 version of The Ten Commandments was deliberately conceived to recall the colors and images employed by pre-Raphaelite painters in their reformulation of medieval painting.