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Art cinema and theologythe word was ...

Ponder, Justin.

Art cinema and theologythe word was made film /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Art cinema and theologyby Justin Ponder.
Reminder of title:	the word was made film /
Author:	Ponder, Justin.
Published:	Cham :Springer International Publishing :2017.
Description:	xii, 214 p. :ill. (some col.), digital ;22 cm.
Contained By:	Springer eBooks
Subject:	Motion picturesReligious aspects.
Online resource:	http://dx.doi.org/10.1007/978-3-319-58556-7
ISBN:	9783319585567$q(electronic bk.)

Art cinema and theologythe word was made film /
Ponder, Justin.

Art cinema and theologythe word was made film /[electronic resource] :by Justin Ponder. - Cham :Springer International Publishing :2017. - xii, 214 p. :ill. (some col.), digital ;22 cm.

This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Bunuel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en scene. 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.

ISBN: 9783319585567$q(electronic bk.)

Standard No.: 10.1007/978-3-319-58556-7doiSubjects--Topical Terms:

233037
Motion pictures
--Religious aspects.

LC Class. No.: PN1995.9.R4 / P66 2017

Dewey Class. No.: 791.43682

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300 $a xii, 214 p. : $b ill. (some col.), digital ; $c 22 cm.
520 $a This book examines postmodern theology and how it relates to the cinematic style of Robert Bresson, Carl Theodor Dreyer, Ingmar Bergman, and Luis Bunuel. Ponder demonstrates how these filmmakers forefront religious issues in their use of mise en scene. 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.
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