By Adele Reinhartz
This can be a accomplished 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 motion pictures, and the medium of movie as a part of the Bible’s reception heritage. The publication examines how movies draw at the outdated and New testomony and the determine of Jesus Christ in quite a few direct and oblique how you can advance their plots, characters, and subject matters. in addition to video clips that set out explicitly to retell biblical tales of their historical context, it
explores the ways that modern, fictional function movies utilize biblical narrative.
Topics lined include:
•how filmmakers utilize scripture to handle and replicate their very own time and place.
•the Bible as a automobile during which motion pictures can handle social and political matters, mirror human studies and feelings, discover existential matters reminiscent of evil and loss of life, and convey topics resembling destruction and redemption.
•the position of the Bible as a resource of ethics and morality, and the way this connection is either perpetuated and undermined in a number of modern Hollywood motion pictures.
•films that create an event of transcendence, and the ways that the Bible figures in that experience.
Reinhartz deals insightful research of diverse movies together with The Ten Commandments and The Shawshank Redemption, being attentive to visible and aural parts in addition to plot, personality, and discussion. scholars will locate this a useful advisor to a turning out to be field.
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Additional 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).
Some recent ﬁlms, however, are careful to refrain from historical claims. ” 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.
These titles refer either to iconic biblical concepts or objects, or, more often, the names of biblical characters. Even viewers who have only a rudimentary knowledge of the Old Testament will likely have heard of the Ten Commandments and will know that Adam, Eve, Ruth, David, Bathsheba, and Solomon are biblical ﬁgures. Also important for creating advance interest and publicity are trailers which were, and still are, shown as advertisements in the movie theater, on television, and, now, on the internet.