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Titlebook: Representing Religion in World Cinema; Filmmaking, Mythmaki S. Brent Plate Book 2003 Palgrave Macmillan, a division of Nature America Inc.

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發(fā)表于 2025-3-21 17:20:14 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Representing Religion in World Cinema
副標題Filmmaking, Mythmaki
編輯S. Brent Plate
視頻videohttp://file.papertrans.cn/828/827528/827528.mp4
叢書名稱Religion/Culture/Critique
圖書封面Titlebook: Representing Religion in World Cinema; Filmmaking, Mythmaki S. Brent Plate Book 2003 Palgrave Macmillan, a division of Nature America Inc.
描述Religious traditions have provided a seemingly endless supply of subject matter for film, from the Ten Commandments to the Mahabharata . At the same time, film production has engendered new religious practices and has altered existing ones, from the cult following of The Rocky Horror Picture Show to the 2001 Australian census in which 70,000 people indicated their religion to be ‘Jedi Knight‘. Representing Religion in World Cinema begins with these mutual transformations as the contributors query the two-way interrelations between film and religion across cinemas of the world. Cross-cultural and interdisciplinary by nature, this collection by an international group of scholars draws on work from religious studies, film studies, and anthropology, as well as theoretical impulses in performance, gender, ethnicity, colonialism, and postcolonialism.
出版日期Book 2003
關(guān)鍵詞anthropology; Christianity; film; ideology; politics; religion; religious studies
版次1
doihttps://doi.org/10.1007/978-1-137-10034-4
isbn_softcover978-1-4039-6051-1
isbn_ebook978-1-137-10034-4Series ISSN 2945-6355 Series E-ISSN 2945-6363
issn_series 2945-6355
copyrightPalgrave Macmillan, a division of Nature America Inc. 2003
The information of publication is updating

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978-1-4039-6051-1Palgrave Macmillan, a division of Nature America Inc. 2003
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Representing Religion in World Cinema978-1-137-10034-4Series ISSN 2945-6355 Series E-ISSN 2945-6363
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Orpheus on Screen:s play . Through these adaptations, Orpheus—that harmonizer of opposites and trickster of death—travels through the centuries and across borders. Since the actual recitation of a myth can be considered important, even necessary, to its vitality, we can imagine the cinematic adaptations of the story of Orpheus as a modern means of this recitation.
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“The Eyes of All People Are Upon Us” film and religion has grown into a lively subfield of its own, without ever really gaining the credibility of its parent disciplines.. This is especially apparent in work on American culture, the world’s most important market for film production and reception.
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