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Video clips that have drawn thought from the Bible, both at once or ultimately, were very popular because the earliest days of cinema. Bible and Cinema: Fifty Key Films introduces a variety of these video clips, that are one of the most vital, critically-acclaimed and highest-grossing movies of all time, including:
The King of Kings Ben-Hur the eagerness of the Christ Frankenstein shut Encounters of the 3rd style 2001: an area Odyssey Apocalypse Now Monty Python s lifetime of Brian.
Written through a staff of overseas students, the fifty entries talk about the Biblical tales, characters or motifs depicted in every one movie making this publication the perfect consultant for somebody drawn to the long-standing dating among the Bible and movie.
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Additional resources for Bible and Cinema: Fifty Key Films (Routledge Key Guides)
With each new character that misunderstands Chance’s identity, the viewer gets more and more self-satisﬁed about knowing the truth. But with the ﬁnal scene, the director makes the viewer a fool: unlike the characters, the viewer missed the clues that Chance is really Jesus-in-disguise. Time to take another look. True, like Jesus, Chance’s origins are unclear. No one in the Old Man’s house knows where he comes from or why he is there. Like Jesus who pre-exists creation (John 1:1) and says, ‘Before Abraham was, I am’ (John 8:57), Chance says, ‘You have me.
Mark’s script ends as abruptly as Aguirre. 12 Aguirre Like Aguirre, Jesus is a traitor. To the high priests and other oﬃcials who rely on the Romans for patronage and who control the Jerusalem temple, Jesus’ ‘cleansing’ (11:15–17) is the act of a terrorist aimed at destroying the economic lifeblood of the city. That is what seals his fate, as the powers that be are now determined to eliminate him (11:18). And just as Aguirre at the end is swallowed up by the jungle and the chaotic creation it represents, the empty tomb signals that Jesus, too, is absorbed into the chaotic world.
Shots of rapids held for an extended time, water vapours and droplets on the lens, a butterﬂy sitting on a ﬁnger, characters relaxing in silence, long passages of an Indian’s reedy music, and so on, all contribute to the feel of a ‘making-of’ documentary. Soldiers make their descent in heavy armor, but the audience see actors labouring through unforgiving terrains in their cumbersome costumes. We are witnessing not a dramatic enactment of a long-forgotten expedition but the real struggle of a megalomaniac (Herzog himself) making a ﬁlm with actors struggling in real, hostile terrains.
Bible and Cinema: Fifty Key Films (Routledge Key Guides)