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Art cinema and theology = the word w...

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Art cinema and theology = the word was made film /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Art cinema and theology/ by Justin Ponder.
其他題名:	the word was made film /
作者:	Ponder, Justin.
出版者:	Cham :Springer International Publishing : : 2017.,
面頁冊數:	xii, 214 p. :ill. (some col.), digital ; : 22 cm.;
Contained By:	Springer eBooks
標題:	Motion pictures - Religious aspects. -
電子資源:	http://dx.doi.org/10.1007/978-3-319-58556-7
ISBN:	9783319585567

Art cinema and theology = the 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

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

593163
Motion pictures
--Religious aspects.

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

Dewey Class. No.: 791.43682

Art cinema and theology = the word was made film /
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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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