This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Bu?uel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en sc?ne. 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 doctrines authoritarianism, as well as philosophys 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.?
1. Introduction: The Word Was Made Film.- 2.? All is Grace : Sound and Grace in Robert Bressons Diary of a Country Priest.- 3.? Life. Yes. Life. : Editing and Miracles in Carl Theodor Dreyers Ordet.- 4.? The Whole Earth is Full of His Glory : Lighting and Suffering in Ingmar Bergmans Winter Light.- 5.? No One Must Know of This : Close-up and Heresy in Luis Bu?uels The Milky Way.- 6.?Conclusion: &And Dwelt Among Us .
Justin Ponder is Associate Professor of English at Marian University, USA. He has written on theology and film in the Journal of Religion and Film, Religion and the Arts, and Imaginatio et Ratio.
This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Bu?uel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en sc?ne. He investigates both the technical qualities of film flesh and its theological features. The chapters show how art cinema uses sound, editing, lilN
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