- English
- PDF
- Available on iOS & Android
About This Book
This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Buñuel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en scÚne. He investigates both the technical qualities of film "flesh" and its theological features. The chapters show how art cinema uses sound, editing, lighting, and close-ups in ways that critique doctrine's authoritarianism, as well as philosophy's individualism, to suggest postmodern theologies that emphasize community. Through this book we learn how the cinematic style of modernist auteurs relates to postmodern theology and how the industry of art cinema constructs certain kinds of film-watching subjectivity.
Frequently asked questions
Information
Table of contents
- Acknowledgements
- Contents
- List of Figures
- Chapter 1 Introduction: The Word was Made Film
- Chapter 2 âAll Is Graceâ: Sound and Grace in Robert Bressonâs Diary of a Country Priest
- Chapter 3 âLife. Yes. Life.â: Editing and Miracles in Carl Theodor Dreyerâs Ordet
- Chapter 4 âThe Whole Earth Is Full of His Gloryâ: Lighting and Suffering in Ingmar Bergmanâs Winter Light
- Chapter 5 âNo One Must Know of Thisâ: Close-up and Heresy in Luis Buñuelâs The Milky Way
- Chapter 6 Conclusion: ⊠And Dwelt Among Us
- Index