The Hidden God: Film and FaithMary Lea Bandy, Antonio Monda, Museum of Modern Art (New York, N.Y.) Museum of Modern Art, 2003 - 299 páginas The subject of God has often been touched on in the movies. European directors like Ingmar Bergman, Robert Bresson, Luis Bunuel, Carl Theodor Dreyer, Krzysztof Kieslowski, Pier Paolo Pasolini, Roberto Rossellini and many others have dealt directly with the theme throughout their careers, and Hollywood too has told stories based on the Bible, the lives of the saints and the martyrdoms of ordinary people. The Hidden God, which accompanies a film series of the same name organized by The Museum of Modern Art and screening in October and November of 2003, explores the ways in which a sense of God may appear in films, whether or not it is understood as such or is visible to the eye. This book contains over 50 essays by a wide range of writers, who find God encoded not only in explicitly religious subjects but in westerns, horror movies, comedies and many other genres, and in films from all over the world. In the times, places and societies these filmmakers explore, God may be lost, found, absent entirely or seen by only a few, whether saint or sinner. |
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Página 266
... vision . Many people take vision as a given and don't realize that they are actually seeing . Throughout history , there have been many different ideas about where vision takes place . The art of various eras seems to indicate this . In ...
... vision . Many people take vision as a given and don't realize that they are actually seeing . Throughout history , there have been many different ideas about where vision takes place . The art of various eras seems to indicate this . In ...
Página 267
... vision , presents us with the tools to touch on and elucidate that experience . Viewing a film has tremendous mystical implications ; it can be , at its best , a way of approaching and manifesting the ineffable . This respect for the ...
... vision , presents us with the tools to touch on and elucidate that experience . Viewing a film has tremendous mystical implications ; it can be , at its best , a way of approaching and manifesting the ineffable . This respect for the ...
Página 268
... vision . This subtle distortion of the vision - language hierarchy violates the primordial strength of what cinema has to offer . It flattens our reality and flattens out cinema . It is a far cry from the primordial ground of the ...
... vision . This subtle distortion of the vision - language hierarchy violates the primordial strength of what cinema has to offer . It flattens our reality and flattens out cinema . It is a far cry from the primordial ground of the ...
Contenido
FIRE FESTIVAL 166 THE BLAIR WITCH | 64 |
THE NIGHT OF | 89 |
THE DEVIL PROBABLY 17 David Sterritt | 99 |
Derechos de autor | |
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The Hidden God: Film and Faith Mary Lea Bandy,Antonio Monda,Museum of Modern Art (New York, N.Y.) Vista previa limitada - 2003 |
Términos y frases comunes
actor American Andrei Rublev Andrei Tarkovsky artist audience Balthazar beauty becomes Bergman Bess Bess's Bezhad Blair Witch Project Buñuel camera Catholic characters Christ Christian church cinema Cinematography Davenne dead death Decalogue director divine Dreyer Europa 51 experience faith Federico Fellini Fellini film film's filmmaker finally Fire Festival François Truffaut God's Groundhog Day hidden Hitchcock Holy human Ingrid Jesus Kiarostami Kieslowski La ricotta Le Diable probablement light lives Luis Buñuel Madeleine Manny Manny's miracle moral mother movie murder mystery narrative nature Nazarin never Nostalghia Ouedraogo Pasolini passion Pharaon play presence protagonist Red Beard religion religious revealed ricotta Robert Bresson Roberto Rossellini Rohmer sacrifice scene Scottie screen seems sense sequence shot spiritual story Stromboli takes Tarkovsky Tarkovsky's theme Thérèse things Tilai tion Trier Truffaut Vertigo viewer village vision visual Wicker wife Wind Will Carry woman Written and directed Yaaba York Zampanò