Christian Worldview and Film Reflections from Reel Spirituality: Theology and Film in Dialogue By Robert K. Johnson

Brief History of Film Christians were early adopters Ben Hur Quo Vadis Commercialism takes over after WWI Rating Systems The Sign of the Cross (1932) The Graduate (1966)

Christians were early adopters

Ben Hur

Quo Vadis

Commercialism takes over after WWI

Rating Systems

The Sign of the Cross (1932)

The Graduate (1966)

The Sign of the Cross

Theology Approaches to Film Criticism Avoidance – “Don’t go, don’t watch” Caution – “Viewer discretion advised” Dialogue – “What does this have to say?” Appropriation – “What do we have in common?” Divine Encounter – Finding God in Film Avoidance Caution Dialogue Appropriation Divine Encounter

Avoidance – “Don’t go, don’t watch”

Caution – “Viewer discretion advised”

Dialogue – “What does this have to say?”

Appropriation – “What do we have in common?”

Divine Encounter – Finding God in Film

Avoidance Caution Dialogue Appropriation Divine Encounter

Why Look At Film? A Theological Perspective Merging Stories in Praxis Hearing God’s Story Telling Our Story

Telling The Story

The Story Reigns Supreme The Nature of Story – Three Parts Beginning – The hero(es) set out Middle – The hero(es) confounded End – The hero(es) return

The Nature of Story – Three Parts

Beginning – The hero(es) set out

Middle – The hero(es) confounded

End – The hero(es) return

General Characteristics of Stories Character- personal development, relationships, interior focus Plot-driven - action, items that move the story along, build-up over time focus Atmosphere/Mood - creating a general feeling or sensation, external focus Point of view – told from an individual’s perspective, narrow focus

Character- personal development, relationships, interior focus

Plot-driven - action, items that move the story along, build-up over time focus

Atmosphere/Mood - creating a general feeling or sensation, external focus

Point of view – told from an individual’s perspective, narrow focus

A Critical Theory of Film Accounts for: Movie Filmmaker Viewers Worldview

Accounts for:

Becoming a Film Critic Genre Criticism

Genre Criticism

Becoming a Film Critic Cultural Criticism

Cultural Criticism

Becoming a Film Critic Thematic Criticism

Thematic Criticism

Becoming a Film Critic Auteur Criticism

Auteur Criticism

Responding to Movies Theologically The Experiential Axis The Critical Axis Reflection Revelation Staying within the movie itself Learning from a theological partner The Holy The Human

Responding to Movies Theologically Exercise – In Class Select a movie that everyone has seen Evaluate it as a film Genre criticism Cultural criticism Thematic criticism Auteur criticism Evaluate it as a theological message Within the movie itself Within the realm of human experience As it points to the Holy On reflection with theological insight

Exercise – In Class

Select a movie that everyone has seen

Evaluate it as a film

Genre criticism

Cultural criticism

Thematic criticism

Auteur criticism

Evaluate it as a theological message

Within the movie itself

Within the realm of human experience

As it points to the Holy

On reflection with theological insight

Responding to Movies Theologically Exercise – For Next Class Select a movie from the available choices Evaluate it as a film Genre criticism Cultural criticism Thematic criticism Auteur criticism Evaluate it as a theological message Within the movie itself Within the realm of human experience As it points to the Holy On reflection with theological insight

Exercise – For Next Class

Select a movie from the available choices

Evaluate it as a film

Genre criticism

Cultural criticism

Thematic criticism

Auteur criticism

Evaluate it as a theological message

Within the movie itself

Within the realm of human experience

As it points to the Holy

On reflection with theological insight