Religion and Film 2024

  In a mythology course I took at UNC Asheville, we learned that folklore and fairytales were often passed down by women while they did laundry. They held messages of the dangers of the real world with horrific themes and horrible endings to warn their daughters and fellow women of the horrors of the world. The story of Persephone, in Greek mythology, is likely one such tale. The Homeric Hymn to Demeter tells the story of Demeter’s daughter being promised in marriage against her will to a much older man and then being kidnapped and stolen from her. It is about Demeter’s grief and in this version of the story, it is easy to see how it could be a story that mothers give their daughters to explain how marriage works in a world where they often have so little choice in the matter. I read Paul Cowdell’s article, “‘Practicing Witchcraft Myself During the Filming’: Folk Horror, Folklore, and the Folkloresque.” He discusses the film subgenre of folk horror, its origins, and its development i

  I read “A Spiritual Blockbuster: Avatar, Environmentalism, and the New Religions,” by Cynthia Erb. The article discusses the relationship between spirituality and film. Erb states that the West has shifted away from traditional religion and towards spirituality as an expression of the sacred. She believes that Avatar is an expression of a “dark green religion,” which values nature as sacred, animism, and believes in Gaia or a “Mother Earth.” The followers of this new religion are activists. Their belief that nature is sacred and worth protecting, even militantly, is so strong that it becomes spiritual in nature. In Avatar, the Na’vi are fiercely protective of their environment. They feel a literal connection with the planet and the animals and are pained when it is hurt. The human, Jake, steps into the world and has to learn this spiritual connection to nature that comes to the Na’vi innately.  Erb writes that the film was criticized by Christian critics at the time for being panthei

  Midrash is a Jewish approach to understanding biblical texts. Peshat is the literal meaning of a text, remez is the deep meaning, darash is the comparative meaning, and sod is the secret meaning. Midrash is a mix of remez and darash , the deep and comparative meanings of a text. Film works well as a visual Midrash because it does not tell the viewers what to think of it. Many films do not even have a narrator leading the audience one way or another. The audience must simply watch the visuals, listen to the sounds, and make their own understanding of the story. The cinematography can push viewers towards the director’s intention, but it cannot force them to understand it in any way but their own. As it states in the assignment post, the commandments are only useful if the reader puts them into their own life. However, few people are going to act a certain way or truly believe something simply because it was told to them. They must decide it is applicable to their own lives. After th

       The Princess Bride deals with the reading from C.S. Lewis we were assigned when we watched Big Fish . The film is about the love story and adventures of Buttercup and Westley, set within a frame story about a grandfather reading to his sick grandson in bed. In the novel, the author, Goldman, has footnotes explaining that his father read him the story when he was young, but when he bought it as an adult he realized that it was a lengthy and boring history book. His father chose to read him only the “good” parts and he wants to share those good parts with his son. The story itself is a bit silly. I say this as someone who’s loved the film since I watched it with my mother when I was around six years old. The dialogue is hilariously unrealistic (Inigo and Westley’s “duel”), the characters are comically sure of themselves (Inigo’s revenge, Buttercup’s attitude), and the plot is fast moving and just… silly. However, it is a film about the importance of silly stories. The humanity of

  I read Connor Pitetti’s journal article, “Uses of the End of the World: Apocalypse and Postapocalypse as Narrative Modes,” while doing some research for a personal project of mine. In it, Pitetti defines the concepts of “apocalypse” narratives versus “postapocalypse” narratives in science fiction books and film. The definition of apocalypse has biblical roots, but beyond an etymological connection to our course, it got me thinking about the idea of the sacred and profane order in post apocalyptic film. Pitetti defines apocalypse as a story defined by a set beginning and end. It frames history as a clearly defined set of events and any world that may be created after an apocalypse is distinctly new and different from the one that came before. Post-apocalyptic narratives, on the other hand, are stories of after the end of the world where despite whatever dramatic changes it underwent, certain truths of the prior society still remain. It is less clean cut than the true, biblical “apoc

  I saw Dune: Part Two with my friend as part of our course and I very much enjoyed it. It was a fun experience and I got my family to go see it because I knew they’d like it as well. The most obvious religious aspect of the film was the Fremen fundamentalist religion that Paul ends up the leader of. The Fremen religion was founded to make sense of the chaos of Arrakis. The colonist expeditions to mine spice, the dangerous sandworms, and the hostility of the terrain itself are all an issue for the Fremen. They create rituals to survive on the planet, such as the special method of walking, or the sandworm riding coming of age ritual. Our lecture notes offer a three part definition of religion summed up by the statement, “When our experience of the chaos overwhelms cosmos, religion offers a way to maintain the cosmos, usually through ritual.” Ernesto Grassi defines religion as, “man’s endeavor to construct a ‘holy and intact’ cosmos which he conceives to be reality other than himself. T

  Spiritual Journey in The Magnus Archives Spoiler Warning: Major spoilers for season five of The Magnus Archives .  The Magnus Archives is a weekly horror podcast by Rusty Quill started in 2016. It was completed in 2021 with five seasons and two hundred episodes. This week I finally finished season five and was surprised at how similar the main character’s journey in the final arc is to the idea of the spiritual journey from our class. I know it is not exactly a film, but it uses immersive audio and dialogue in ways that have related to the films we've discussed. Also, I wrote this before I realized it is not actually a film. The immersive storytelling and description is so good that I genuinely forgot it is not a visual medium. The show is about the inner workings of The Magnus Institute, “an organization dedicated to researching the esoteric and the weird'' (Rustyquill.com). The main character, Jonathan Sims, is the head archivist of their extensive and disorganized

"Talladega Nights: The Ballad of Ricky Bobby" is a comedy film primarily known for its satirical take on NASCAR racing culture and the larger-than-life personalities within it. While religion isn't a central theme of the film, there are instances where religious elements are satirized or incorporated for comedic effect. One notable example is the character of Ricky Bobby's father, Reese Bobby, who is portrayed as a humorous caricature of a Southern stereotype, complete with a penchant for outlandish and nonsensical proclamations. Reese frequently invokes religious language and imagery in his dialogue, often attributing Ricky Bobby's success on the racetrack to the powers of the Baby Jesus. This exaggerated portrayal of religious devotion and superstition serves as a comedic commentary on the intersection of faith and culture in the American South. Additionally, there is a scene in the film where Ricky Bobby offers a prayer to "Dear Lord Baby Jesus" befor

 Candyman is a truly horrifying film and not one I would have looked at with a religious lens. It wasn't until today when I was watching a YouTube video where the person mentioned a specific religious theme in Candyman, as a result, I ended up looking into it, and sure enough, there's quite a lot to it.   The film also explores the power of belief, suggesting that belief can manifest itself into reality. This is evident in the central myth of Candyman, where saying his name five times in front of a mirror summons him. This ritualistic invocation mirrors religious practices where the divine is invoked through prayer or mantra. Furthermore, Candyman’s backstory, being the son of a former slave who was brutally murdered for his interracial relationship, echoes themes of martyrdom and persecution often found in religious narratives. His transformation into a vengeful spirit reflects the concept of resurrection and eternal life, however, unlike traditional religious narratives that

 Of all the films in this class, this one I think stood out to me the most. Despite the title of the film, it wasn't as heavy handed on the religious aspects as I was expecting, in in fact required a deeper understanding of what was going on in order to discern religious meaning. Having said that though, it may have been more obvious to those who are more familiar with the biblical story it is mirroring, however I am not. From my perspective as a Hellenistic pagan however this film subtly intertwines the ethereal with the earthly, demanding a nuanced perception to unravel its spiritual undertones. The narrative, while not explicitly religious, mirrors themes of exile, redemption, and the search for paradise, all of which are elements deeply rooted in various religious traditions, including my own. Malick’s approach to storytelling, with its muted emotions and detached narration provided by Linda's character, allows for a contemplative space where one can project their own spiri

 Paul Schrader’s book “Transcendental Style in Film” delves into a fascinating exploration of cinema that transcends the ordinary and reaches for the ineffable. In this work, Schrader identifies a common film style employed by diverse filmmakers across cultures. Through reading it what stood out to me the most was the chapter that stands out for its profound insights is the one where Schrader contrasts Bresson’s and Dreyer’s portrayals of Joan of Arc. Bresson’s Joan, is exemplified in films as a “Pickpocket”, and employs a rigid style to ward off superficial emotional release, whereas Dreyer’s Joan presents a different approach.  Understanding film through a religious perspective volves recognizing the spiritual dimensions that film can convey. This approach is not about imposing religious doctrine onto film but rather about discerning the spiritual resonance within the cinematic experience. In this context, films become allegorical, carrying symbolic weight that transcends their narra

 For class readings we were provided excerpts from Eliades work, however I later on went out of my way to find a full version of the text as it resonated with my understanding of the class. Mircea Eliade’s work, “The Sacred and the Profane,” offers an insightful framework for understanding the sacred, especially when applied to the film world. Eliade’s exploration manifestations of the sacred can be seen in the way films depict the divine breaking into the profane world. Whether it’s through the intervention of a god-like figure like we see in Blade Runner, the discovery of a sacred object, or the experience of a miraculous event like in Wings of Desire, these cinematic moments echo the Hellenistic practice of seeking the divine in the everyday. They remind us that the sacred is not confined to temples or texts but is woven into the very fabric of life, waiting to be rediscovered and discussed in new light. Films then become a modern vehicle for the expression of timeless religious and

 When we had our guest lecture class it definitely grabbed my attention. It was interesting to see how the film would go on to present different insights and perspectives through lens's that would not have been considered previously. Specifically, the section with the quiet place stood out to me as I feel there is a lot there that could be discussed in the context of our course. Overall though it stood out as after that point I began to look at the films we covered in class with a bit of a new light, inviting a new type of analysis and discussion moving forward. I wish I had remembered to write this journal sooner as I would have had much more to say but now my memory is a little foggy. 

 In Michael P. Graves’ exploration of Stephen Crisp’s spiritual journey, we see the powerful motif of the journey symbol. This symbol, found throughout religious literature and especially prominent in Christian mystical texts, manages to pack in layers of meaning. In relation to class though i find it to be more interesting. Whether the hero of a story is scaling peaks, trekking through the arid wilderness of self-discovery, or engaging in hypno-therapy like we see in a few films throughout the semester, this journey becomes a vessel for growth and transformation. Graves’ exploration is not just an academic exercise; it becomes a mirror reflecting our own classroom discussions, where the concept of the journey takes on a new, vibrant life. 

In the context of religious journeys, Stardust portrays the protagonist, Tristan, as a pilgrim in a fantastical world, embarking on a quest not only to capture a fallen star for his beloved but also on a path towards his own spiritual awakening. This journey is reminiscent of the religious pilgrimage, where the pilgrim seeks a transformative experience through encounters with the divine or the sacred. Tristan’s transformation from a naive shop boy to a self-assured hero mirrors the inner transformation that is often the goal of a religious awakening. The concept of the ‘other’ is central to the narrative, as Tristan, a human, ventures into the magical realm of Stormhold, where he is the outsider. This encounter with the ‘other’ is a common theme in religious texts, where the protagonist often encounters beings from different realms or worlds, leading to a deeper understanding of the self and the universe. The ‘other’ in Stardust is represented not only by the inhabitants of Stormhold b

 As I may have mentioned in prior journals, I am in fact a practicing Pagan, with that in mind the Jacket stood out to me, especially this semester. More specifically, Paganism celebrates cyclical existence, honoring seasons, life, and death. In “The Jacket,” the time-travel experiences align with this worldview. Two things in particular speak out, metamorphosis, and the idea of sacred spaces. Imagine the morgue drawer as a modern-day sacred grove. Ancient pagans sought communion with gods and spirits in groves similarly Jack seeks answers and transformation within this confined space. The morgue drawer becomes a gateway—a bridge between life and whatever lies beyond. Here, Jack grapples with mortality, memory, and the unknown, allowing for this shift. 

 “Dead Poets Society” can be viewed through the lens of Rudolph Otto’s concept of the “numinous,” as outlined in his work “The Idea of the Holy.” This film is one of my favorites, set in a traditional and strict boarding school, and explores themes of nonconformity, and rebellion. It focuses on the main characters Todd Anderson, Knox Overstreet, Neil Perrry, and others. The divine, in the context of the film, is not encapsulated within the rigid structures of organized religion or dogmatic belief systems. Instead, it is presented through the character of John Keating, an English teacher who embodies the spirit of the numinous—mysterious, awe-inspiring, and deeply spiritual. Keating’s teachings are not just about poetry; they are an invitation to experience the world with a sense of wonder and to recognize the divine spark within oneself and in the everyday moments of life. In the film, the students, under Keating’s guidance, begin to break free from conformity and discover their own vo

 Though I wasn't in class for the showing of this film, I did go on to watch it in my own time. What stood out to me was The feast itself and how it was symbolic of the Last Supper, and Babette’s sacrifice mirrors Christ’s sacrifice. The food and cooking symbolize spiritual and physical nourishment. The film also uses singing as a motif that represents both earthly fame and spiritual transcendence.  The divine beauty in the film is manifested through the feast, which is more than just a meal. It is a transformative experience as it is prepared with meticulous attention to detail, almost as though to reflect on God’s creativity. It is through this feast that the characters experience the “infinite grace” of God. furthermore,  “Babette’s Feast” is a celebration of the divine in the mundane. It beautifully illustrates how acts of love and generosity can open up spaces for grace and transformation, leading to a deeper understanding and appreciation of life’s spiritual dimensions. 

 The Chronicles of Narnia is a popular fantasy series by C.S. Lewis, featuring seven books that transport readers to the magical land of Narnia. The series, which begins with "The Lion, the Witch, and the Wardrobe," explores themes of courage, loyalty, sacrifice, and redemption. Aslan, the lion, serves as a Christ-like figure who sacrifices himself for the salvation of Narnia, illustrating the biblical narrative of Jesus Christ's crucifixion. His resurrection, along with themes of sin, redemption, and the triumph of good over evil, mirrors the biblical narrative of Jesus's triumphant resurrection. The White Witch, a powerful representation of evil, represents temptation and sin, highlighting the existential threat posed by evil. The series also mirrors biblical narratives, such as the creation and fall of Narnia, the Exodus, and the journey of the Pevensie siblings. The characters often embody biblical figures, highlighting the themes of leadership, repentance, and fo

 Days of Heaven was an interesting film to watch. The premise of two people who are in a relationship pretending to be brother and sister is quite an odd foot to first step on. This creates a "more than meets the eye" vibe to the film. We are left with the ethical dilemma, of first, this lie, and second the lie of Abby being in love with the farmer. Abby could actually love the farmer, to a degree, but she remains deceitful in the fact she has not told him the whole truth. She cannot love him wholly, nor he her. The farmer seemed to idolize Abby, saying since he met her, he has felt so much better. Yet every time he goes on a tangent about how much he likes her, she never seems to say anything of sustenance back. The farmer likes the concept of a partner, I mean, who wants to die alone? His impending death has set him on a speed run to find a lover, which does not end in his or her favor. The movie shows that not everything in life is clean-cut. People can be both good and ba

 In the movie, we are introduced to the main character Antonius Block, a knight who grapples with the silence of God amidst what looks to be some kind of plague or other epidemic. The film I think can be seen as an allegorical exploration of faith, where Block’s chess game with Death symbolizes humanity’s existential struggle. I had a bit of a hard time relating to this film as I myself don't practice beliefs from Christianity however death has its own significance in my practice. applying it to my personal experience with my faith I think it interesting to see the characters almost embracing death rather than running away from it, at least those who know he's there. In my practice death is seen as the final ascension in a way where you become united with the deities you dedicated your practice too, it is seen as almost immortality in a way. Parallel to Block’s quest is Stephen Crisp’s spiritual odyssey, as discussed by Michael P. Graves. Crisp’s journey, marked by a shift from

 I know we had an official essay assignment for this film, however, this was by far one of the ones that has stood out to me the most up to this point in class. The film grapples with existential questions about memory, identity, and the significance of individuality. In this context, the mind’s “spotlessness” represents both purity and ignorance. While not overtly religious, the film invites us to think about how we treat our loved ones and the consequences of our actions. Joel and Clementine’s journey mirrors this type of journey. he non-linear narrative mirrors the fragmented nature of memory. Scenes are woven together, revealing the complexities of love and loss. Visual nods, such as the erasure process, reinforce the theme of memory dissolution. The use of color (bright hues for memories, muted tones for reality) enhances emotional impact and distinguishes the past from the present as well. Relating that to the topics in this course, the non-linear structure of Eternal Sunshine mi

The film "Big Fish" was an entertaining way to address the tumultuous relationship between father and son. Many household names were in this movie, adding to its enticing story. I really enjoyed the movie mainly because it showed how one can both love and dislike someone at the same time. The son in this movie loves his father, we know this through his actions otherwise he would have cut his father out of his life completely. He does not love his father's "fantasies". The father does not see what he is doing as wrong or hurtful to the son, because he sees these stories as his truth. There can always be multiple truths in any situation. I appreciated how the son was able to eventually come around on his father's terms, although I would have liked to see the father challenge his own truth as well. I especially liked how we talked about facts not always being enough to explain something well. I think from an academic stance, we could compare this to that of qua

"The Adventures of Huckleberry Finn" by Mark Twain can be analyzed through a religious lens due to its exploration of themes such as morality, conscience, and the hypocrisy of institutionalized religion. Twain uses religious elements to critique societal norms and challenge conventional beliefs, offering readers a nuanced perspective on faith and spirituality. One prominent aspect of the novel is the character of Huck Finn himself, who grapples with questions of morality and conscience throughout his journey. As Huck embarks on his adventure down the Mississippi River with Jim, a runaway slave, he is forced to confront the moral implications of societal norms and religious teachings. Huck's internal struggle reflects the tension between personal ethics and external pressures, highlighting the complexity of moral decision-making in a deeply flawed society. Additionally, Twain uses religious imagery and symbolism to underscore broader themes of freedom and individualism. Th

 T he protagonist, Christopher McCandless, embarks on a spiritual quest that is reminiscent of various religious pilgrimages or journeys of self-discovery. McCandless seeks to find meaning and transcendence through his experiences in the wilderness, mirroring the spiritual journeys undertaken by ascetics or seekers in religious traditions. McCandless's rejection of material possessions and societal norms can be seen as a form of asceticism, a practice found in many religious traditions where individuals renounce worldly comforts in pursuit of spiritual enlightenment. McCandless's decision to live a minimalist lifestyle in the wilderness reflects a desire to strip away the distractions of modern life and connect with something greater than himself. "Into the Wild" explores themes of nature as a sacred space or divine presence. McCandless finds solace and spiritual fulfillment in the natural world, viewing it as a source of truth, beauty, and wisdom. His reverence for t

"Where the Wild Things Are" by Maurice Sendak can be examined through a religious lens, although it is not explicitly religious in nature. However, one can interpret the themes and symbols in the book to reflect broader spiritual and existential concepts. One way to interpret "Where the Wild Things Are" through a religious lens is to view Max's journey to the land of the Wild Things as a metaphor for a spiritual or psychological journey. Max's imaginative adventure can be seen as a quest for self-discovery and understanding, akin to a spiritual pilgrimage or quest for enlightenment. His encounters with the Wild Things represent different aspects of his own personality and emotions, and his eventual return home symbolizes a deeper understanding of himself and his place in the world. Additionally, the themes of imagination and creativity in the book can be interpreted through a religious lens as expressions of divine inspiration or the human capacity for trans

As Ray Bradbury addresses issues of censorship, conformity, and the search for truth and meaning in a dystopian society, "Fahrenheit 451" can be read via a religious lens. The novel has themes that resonate with religious symbolism and metaphor, even if it does not specifically focus on organized religion. One way to interpret "Fahrenheit 451" through a religious lens is to view the suppression of books and ideas as a form of spiritual oppression. In the novel, the government bans and burns books in order to maintain control over the population and suppress dissenting voices. This can be seen as analogous to historical instances of religious censorship, where authorities sought to suppress heretical ideas or beliefs that challenged their power. Additionally, the act of book burning in "Fahrenheit 451" can be interpreted as a symbol of the destruction of knowledge and wisdom. Books represent repositories of human thought, experience, and culture, and their

One way to interpret the novel through a religious lens is to consider the journey of the protagonist, Janie Crawford, as a quest for spiritual fulfillment and self-discovery. Throughout the novel, Janie navigates relationships, societal expectations, and personal desires in search of her own identity and sense of purpose. Her journey can be seen as analogous to a spiritual pilgrimage, where she grapples with questions of love, freedom, and the meaning of life. Additionally, the novel incorporates elements of African American spirituality and folk beliefs, particularly through the character of Nanny and her emphasis on survival and stability. Nanny's belief in the power of fate and destiny reflects a broader cultural belief in the influence of supernatural forces on human affairs. This spiritual worldview shapes Janie's understanding of her own experiences and relationships, highlighting the interconnectedness of the human and divine realms. Furthermore, Hurston's use of na