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By Steve Nolan
In their learn of faith and picture, non secular movie analysts have tended to privilege faith. Uniquely, this research treats the 2 disciplines as real equals, through relating to either liturgy and movie as representational media. Steve Nolan argues that, in each one case, matters establish with a represented 'other' which joins them right into a narrative the place they turn into individuals in an ideological 'reality'.
Finding many present techniques to non secular movie research missing, movie, Lacan and the topic of faith explores the movie thought different writers forget about, rather that blend of psychoanalysis, Marxism and semiotics - usually termed reveal idea - that makes an attempt to appreciate how cinematic illustration shapes spectator id. utilizing translations and remark on Lacan now not initially on hand to monitor theorists, Nolan returns to Lacan's contribution to psychoanalytic movie thought and provides a sustained program to spiritual perform, studying a number of 'priest movies' and real-life case learn to show the way in which liturgical illustration shapes spiritual id. movie, Lacan and the topic of faith proposes an interpretive procedure wherein non secular movie analysts can advance the type of research that engages with and opinions either cultural and non secular practice.
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Extra resources for Film, Lacan and the subject of religion : a psychoanalytic approach to religious film analysis
Sample text
An actor playing a fictional character donates his or her own spatiotemporal integrity and plenitude to the character. ) Insofar as Jesus was a man, [Max] von Sydow and [Robert] Powell donate their bodies to be his Representative. But what can they donate, space-and-time-bound as they actually are, that would correspond to the divine aspect of Jesus? (1997, 303) For Thompson, the failure of filmic representations of Jesus is due, not to the limitations of cinematic style, but to the gaps that open between the determinacy of the real actor and the indeterminacy of the spiritual the real actor Represents.
So, while he acknowledges my insistence that theologians attempt a more sustained interaction with film theory (Nolan 2003, 177), he chooses to dismiss the perspective of psychoanalytic film theory on the grounds that ‘such film theory is itself under severe challenge from within the world of film studies’ (Marsh 2004, 88). Rejecting ‘Screen theory’, Marsh relies on film critics and film analysts informed by ‘post-theory’ (Bordwell and Carroll 1996). Marsh appears to adopt this position on the basis that post-theory approaches are necessarily more empirical in that they look ‘at what films Anthropological Interpretations 35 actually do, rather than what is in them and what it is assumed they should do’ (Marsh 2004, 119).
I will argue that it is precisely in the area of identification with an ‘other’, insofar as it is allied with narrative and participation in (ideological) ‘reality’, that the most interesting analysis and interpretations will be found. This is the area at which Deacy hints but does not venture. Chapter 3 Anthropological Interpretations: Film as Religion A certain kind of logic can be attributed (if not actually discerned) in the development of religious film analysis: where it once regarded film as sacramental invitation to participate (Fraser 1988) or as ‘cinematic theology’ (Hurley 1970), some religious film analysts are now arguing that film can, and indeed should, be seen as religion, as a form religious practice.