Showing posts with label vick griffin. Show all posts
Showing posts with label vick griffin. Show all posts

Monday, September 21, 2009

Bill Leonard: Baptists must find new ways to express ideals

This is good---thanks Vick:
Leonard: Baptists must find new ways to express ideals
By Robert Dilday & Ken Camp
Published: July 07, 2009

HOUSTON (ABP)—Baptist denominational systems across the United States are in transition and being redefined, spawning a number of issues that are complicating and clouding the Baptist landscape, Bill Leonard told a group of Associated Baptist Press supporters.

And those issues have implications for communicators who “write, blog and broadcast for and about Baptists in the years ahead,” said Leonard, dean of the divinity school at Wake Forest University in Winston-Salem, N.C. Leonard spoke at the annual “Friends of ABP” dinner, held in conjunction with the general assembly of the Cooperative Baptist Fellowship.

“The once-formidable Baptist presence in the United States retains its significant numerical dominance in American Protestantism, but the demographics ... reflect a denomination in a considerable decline, torn by internal controversies on one side and megachurch competition on the other, held together by an aging constituency, faltering finances and turbulent identity crises,” said Leonard.

Shaken by the changing nature of religious life in 21st century American culture, Baptist systems are “coming apart, being re-defined, in dynamic transition, disconnecting, in disarray, being reclaimed, collapsing or experience unending schism,” he added.

Among the indicators:

• Transitions in American—and Southern—culture are now “normative” in Baptist communities. “A new generation of Baptist clergy and laity find themselves working and worshiping together in new and creative ways in changing neighborhoods, interracial marriage, community organizing and of course the election of President Obama,” said Leonard.

• Denominations—including Baptist ones—matter less and less to religious Americans. “Both the Southern Baptist Convention and the American Baptist Churches this very year were given new proposals for reorganizing cumbersome denominational structures that inhibit rather than enable ministry possibilities and funding realities,” said Leonard. Baptist churches and their associated networks have settled into a “de facto society method not unlike that of earlier Baptist organizations.”

• Most moderate Baptist organizations—including the Alliance of Baptists, the CBF and Texas Baptists Committed—have “reached a plateau numerically and financially.”

• Many Baptist churches are “renegotiating their ‘Baptistness’ and their connections with old denominational identities.” Technological changes increasingly allow local congregations to function effectively without relying on denominational resources. “Some Baptists, left and right of center, observe that ‘brand-name’ religion no longer attracts.”

• Because Baptists under the age of 45 are unfamiliar with intact denominational systems, they increasingly reject sectarian divisions for a generic Christianity that is “part denominational, part contemporary church, part emerging church, part postmodern church,” he said. “If Baptist identity is to be carried beyond mid-century, it must be reasserted and reinterpreted and reformed immediately.”

• Years of controversy about the Bible and control have left other theological problems unexamined, said Leonard. “Obsession with theories of biblical authority ... have often obscured serious questions of ... how the text is interpreted,” he said. And developments in evangelistic theology have left “many Baptists uncertain as to what conversion means, how it is experienced and what is the most effective means for declaring the gospel.”

Those indicators of Baptist transition could evoke several responses from the denomination’s adherents, noted Leonard. Baptists might:

• Choose between their heritage of dissent or their more recent role as upholders of the establishment. “Many conservative Baptists cannot seem to decide if they are dissenters, standing against the secularism that they believe to be the unofficial religious establishment of an increasingly anti-religious nation, or establishmentarians, demanding a certain kind of religious privilege for their way of believing in a historically ‘Christian’ nation,” said Leonard. “Moderate/liberal Baptists are so uncertain about their past and future that they can’t seem to decide what, when or if to protest anything at all.”

• Find in their history keys to responding to a postmodern world. “In a sense, our (Baptist) forebears invented pluralism; they helped invent congregational localism; they understood conversion as linking God’s story with each individual’s story and linking it to a community of stories, made public in a healing, cleansing ritual. Can you be more postmodern than that?” asked Leonard.

• Recast their idea of religious pluralism and how to engage it. “Pluralism does not mean ... a blending of religious traditions in some nebulous attempt at tolerance,” said Leonard. “Yet pluralism may force us to ask what we mean by the nature of our witness and the tone of our voice.”

• Respond to the “connectionalism of media—a communications network that reconnects old communities and facilitates new ones,” said Leonard. “Efforts by ABP to anticipate these changes and move toward a multimedia approach are to be complimented and must move ahead with haste.”

• Learn to live out a “responsibility of the minority”—something Baptists worldwide have known for four centuries, said Leonard. “We have an opportunity to recover a lost witness in a society where our voice may not be privileged but it must be heard, where we rediscover the power of witness in a society ... that pays less and less attention.”

Earlier in the day, Leonard had touched on some of the same themes in a workshop on 400 years of Baptist history he led in tandem with James Dunn, resident professor of Christianity and public policy at Wake Forest School of Divinity.

(Read more: Here).

Thursday, May 21, 2009

The Apostle And Poimenolatry



One of the last films that we watched over the early Spring session of Wed. nights was The Apostle which unfortunately we did not get to discuss. However, before showing the film for us, Vick offered some similar sentiments to mine about the state of the American church. I believe that The Apostle offers a valid critique of the type of poimenolatry rampant in the church today. Poimenolatry of course is a term I coined from the Greek words ποιμήν and λατρεια which mean "pastor/shepherd" and "worship" respectively so all together poimenolatry means "pastor-worship or pastor-idolatry." Indeed there are cults of celebrity built around pastors of various churches as Vick said. We see this played out in ways such as this:
Luther formulated an anti-poimenolatry/anti-clericalism position by eradicating the distinctions between the clergy and laity, when he established the Protestant doctrine of the Priesthood Of All Believers---in an age when the clergy were considered spiritually superior to the laity by having direct links to God. (Although certain Christians in direct violation of the Protestant doctrines of the Priesthood Of All Believers, religious liberty and freedom are trying to reestablish clerical superiority over the laity by reasserting the clergy’s absolute authority to dictate what and how the laity are to believe---and how they are to act and what they are to do---and also, by deifying fallible clerical opinions pertaining to religious and moral issues as the end of dialogue).


We see this very Luther denying spirit in the core of the SBC as they are more and more becoming less like a Baptist denomination and more like their own version of the Roman Catholic Church complete with their own papacy to some degree at least. Although, younger SBCers are willing to change some things for the better. However, the older SBCers in violation of historic Baptist anti-creedalism are enforcers of creeds such as The Baptist Faith and Message's Role in Baptist life:
In Southern Baptist polity, actions by the Convention are nonbinding on local churches — they are considered autonomous. An individual church may choose to adopt the BF&M or may create their own statement. Despite the fact that the BF&M is not a creed, faculty at SBC-owned seminaries and missionaries who apply to serve through the various SBC missionary agencies must affirm that their practices, doctrine, and preaching are consistent with the BF&M.
This sort of nonsense is all too common in the more reformed fundamentalist churches such as these articles of application for membership to The Hollywood Church:
9. Have you thoroughly read the church Constitution, Statement of Faith, and Doctrinal Statement
as contained in the Articles of Incorporation? ___ Yes ___ No
(A) Do you have any disagreements with these documents? ___ Yes ___ No
(B) Do you agree to abide by and not teach contrary to our positions? ___ Yes ___ No
10. The Bible teaches that all believers have been given spiritual gifts and resources by God for the
edification of the church and that they need to humbly submit to the leadership of the local church as
they minister.
(A) Are you willing to submit and follow the leadership of the Hollywood Church (Hebrews 13:17;
1 Thessalonians 5:12-13)?


Of course to reformed fundamentalist nutcases, leaders were divinely preordained from the foundation of the world to be obeyed without question including Adolf Hitler, Pol Pot, Stalin, Suddam Hussein, etc. Speaking of which here is a poignant scene beginning at 5:06 and following from The Apostle:

Kinda reminds one of a Nazi rally:

At least with the Jesus chant comparable to the seig heil chant as well as charismatic idolatry of leaders. However, I can't agree with Vick that Robert Duvall's character was a fundamentalist---a typical bible literalist yes but not so much a fundamentalist as Duvall's character "conveys a positive, ecumenical spirit. In one memorable scene, Sonny watches Roman Catholic priests blessing shrimp boats and says, "You do it your way and I do it mine...together we get it done" and fundamentalists oppose any form of ecumenism. Other themes tackled were:
The major themes of The Apostle include forgiveness and accountability. Duvall sympathetically portrays Sonny as a sincere gospel preacher whose passions get the better of him. After fleeing from Texas, he re-baptizes himself -- symbolizing a fresh start -- and seeks to accomplish as much good as possible before his inevitable capture. Sonny's arrest closes the moral circle of the narrative, showing that evil acts do not go unpunished. Yet, his final sermon motivates the fledgling church to carry on a life of faith and good deeds.

Evangelical Christian viewers applauded this film for its emphasis on personal faith and redemption (two of its characters come to crisis-faith experiences) without letting Sonny off the hook.


In conclusion, most preachers detest cults of personality built around them though some may relish in it. Also, the film The Apostle offers unique insights into one of the three major errors of the modern church---poimenolatry, bibliolatry-worship of the bible/bible literalism/biblical inerrancy and ecclesiolatry (worship/idolatry of the church, the (dead letter of the) bible and (certain) pastors/preachers/ministers and their fallible opinions contrary to the living tradition of the Scriptures, which via their spirit bear witness to and testify of Christ the criterion of interpretation and standard of Christian living (through the Holy Spirit and discernment).

Wednesday, March 11, 2009

The Sloppy Theology Of Henry Poole Is Here: Part 2

"On ne voit bien qu'avec le cœur, l'essentiel est invisible pour les yeux." (It is only with the heart that one can see rightly; what is essential is invisible to the eye).
— Les hommes ont oublié cette vérité, dit le renard. Mais tu ne dois pas l’oublier. Tu deviens responsable pour toujours de ce que tu as apprivoisé. Tu es responsable de ta rose…
Men have forgotten this truth," said the fox. "But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose..."
— C’est le temps que tu as perdu pour ta rose qui fait ta rose si importante.
"It is the time you have wasted for your rose that makes your rose so important."
----Antoine de Saint Exupéry, The Little Prince






Sorry for the week long wait, but last week I got a stomach bug that has been going around our church so that wasn't fun. Anyways, continuing from where I left off---I believe like Fosdick that miracles still happen, but we must be careful how we approach miracles---because sometimes our approaches to miracles lead to dangerous theology such as in these ways:

1- Sometimes how we approach miracles leads to spiritual materialism---turning our walk with God into one of sight and proofs rather than belief/faith in the unseen Risen Lord (John 20:28-30).

2- Sometimes our approaches lead to spiritual arrogance and pride---in that those who have experienced miracles sometimes feel spiritual more superior than those that haven't or feel that God specially chose them and not others such as: how Adolf Hitler believed God chose him to rule the world after he escaped death several times in WWI.

3- Some of our approaches downgrade theodicy (the problem of evil and suffering in the world)---which poses the question of why God would choose to heal some people and not others whom have just as much faith or more than those whom did get healed?

4-
Do you ever wonder just what God requires?
You think He's just an errand boy to satisfy your wandering desires.
--- Bob Dylan, When You Gonna Wake Up? This thought by Bob Dylan which echoes something Fosdick said is another problematic approach to miracles.



Tying miracles back to my quote from The Little Prince---a modern day view of miracles is finding God and beauty in all things. No one exemplified this more than Mister Rogers did:
No matter the weather, Mr. Rogers would still come in his house and say it’s a
beautiful day. Why do we think sunny, bright days are beautiful but if it’s raining it’s a dreary
day? I don’t think Mr. Rogers was talking about the weather when he said it’s a
beautiful day in the neighborhood. Mr. Rogers looked for the beauty in every
day things, every day life. Sitting down with a neighbor, drinking tea, taking time to play,
pretend, paint, and be creative. One day of breathing normally is a beautiful day for
someone with Asthma, Bronchitis or Emphysema. One more day to enjoy the
color of the sky is a beautiful day for someone loosing his or her eyesight.
One more day with your son or daughter before they report to boot camp is a beautify day!
Think like Mr. Rogers and enjoy the beauty of this life, this day! Yes we’ve got problems,
yes there is a war going on, sure we’ve got poverty and political unrest but there are still
miracles every day if you take the time to look. Find something today to make you say
“It truly is a beautiful day in this neighborhood”!

In conclusion, despite it's sloppy theology, Henry Poole Is Here was an interesting movie that in the end showed that love is the truest miracle of all.

Wednesday, March 4, 2009

The Sloppy Theology Of Henry Poole Is Here: Part 1



For we walk by faith, not by sight. (II Corinthians 5:7 RSV)



Two weeks before last we watched Henry Poole Is Here in our Wed. night group, but since I had a cold I had to rent the movie the week before last in order to finish it for last week's discussion. Anyways, the main theme of the movie is miracles and in that regard I felt the theology was rather sloppy. It seemed the whole of the movie was focused on having faith in this "supposed miracle" rather than the Risen Lord whom we've never seen yet believe. Don't get me wrong---God was a pervasive presence throughout the film, but God seemed overshadowed by the "supposed miracle." Anyways, Vick brought up the Eucharistic Miracle of Lanciano which is interesting in that it's mysterious. Also, the Shroud of Turin was mentioned (which has been proven to be a hoax over and over again) in our discussion. The problem with these sorts of things are the reason Luther wanted to reform the Roman Catholic Church. Indulgences, anyone? In Luther's time the abuse of indulgences included the sell of religious relics with supposedly miraculous properties. A lot of these so-called "relics" were forged.

A second problem with the film is people see what they want to see. Take these supposed "Islamic miracles" for example: Allah Written in Arabic on Tsunami Wave — Miracles of ALLAH !, A Miracle: The Splitting of the Moon, Islam’s “Miracles”, Miracle of Islam, In the name of Allah, the Beneficent, the Merciful or
Miracles can be subjective and relative to the individual.

Next I would like to say an individual's definition of miracles shapes their view. Here is a detailed definition of miracles by Harry Emerson Fosdick which has help shaped my view of miracles:

You are right, however, in feeling, as your letter reveals, that the prescientific world view which is the matrix in which the Bible’s treasures are set, does pose some difficult problems -- miracles, for example. A letter offers no adequate space for the treatment of that problem, but I venture some homely advice.

First, remember that the ancient world took what we would call miracles for granted. Not having even the idea of natural law in their heads, "signs and wonders," as the New Testament calls them, did not bother the ancients intellectually at all. Almost anything could happen. The records of Buddhism and Islam are full of miracle stories. A contemporary of Jesus, a man named Apollonius, had his biography written, and the miracles ascribed to him are so like those attributed to Jesus that some at first supposed the biography to be a deliberate attempt to discredit the Gospels. No! That whole ancient world thought in terms of miracles, and one often feels that they represent real events, looked at and thought about in a way utterly different from ours. Mohammed, for example, was credited with having made the sun stand still, with having obtained water from a flinty rock, with having fed thousands with a little food.

Second, consider the fact that some miracle stories in the Bible are more easy to believe now than they were a generation ago. This is especially true about miracles of healing. How many bodily ills, which in my youth were supposed to be physically caused, are now known to be caused or complicated by mental and emotional disorders! If you know anything about the development of psychosomatic medicine, you will understand this. When one considers that over half the beds in all the hospitals in the United States are filled with mental patients, and that many more are filled with patients whose physical ills are emotionally caused, so that cure must come rather from the spiritual than from the bodily end, Jesus’ healings become much more credible than they used to be.

Third, don’t suppose that a miracle means the breaking of natural law. I do not think that natural laws are ever broken. Ask nature the same question in the same way and it will always give you the same answer. But our knowledge of nature’s laws is limited. When I consider how many new regularities in nature have been discovered in my lifetime, I am sure that there are infinitely more yet to be discovered. Indeed, if we are tempted to look back two thousand years and condescend to the writers of the Bible because our science is so superior to theirs, we had better watch our step. Imagine the science of two thousand years ahead! How will men then think about us? They will be doing many things then that are absolutely incredible now. So a marvelous occurrence, then or now or in the ancient world, could conceivably be not a rupture of nature’s laws but a fulfillment of laws beyond our ken. Every time we learn a new law we get our hands on a new law-abiding force and can do a new thing. Cannot God do at least that?

Fourth, don’t suppose that you have to believe every miracle story just because it is in the Bible. Dr. W. E. Orchard was orthodox enough -- he ended in the Roman Catholic priesthood -- but he said once, "If I saw someone walking on the sea, I would not say, ‘This man is Divine’: I would say, ‘Excuse me, do you mind doing that again? I didn’t see how you did it.’" That is the typical modern-minded attitude, and you are in good Christian company if you feel the same way about some miracle stories in the Bible. Moses is said to have cast a stick on the ground and it became a snake, and to have seized the snake by its tail and it became a stick. Well, I wonder! Certainly my Christian faith does not depend on believing things like that.

Fifth, don’t complicate your problem by being a wooden headed literalist. The way many Western Christians think about the Book of Jonah, for example, is a tragedy. That book is one of the most magnificent affirmations of God’s universal care for all mankind, across all boundaries of race and nation, that ever was written in the ancient world. Some scholars call the book fiction with an ethical purpose, others call it a parable or an allegory, but no competent scholar that I know of thinks that the book was intended to be taken as historical fact. Of course it wasn’t. At the time the book was written -- probably somewhere around 300 B.C.-- there was developing in Israel an embittered hatred of the Gentiles. Israel was God’s chosen people, and he would destroy the others, who so often had mistreated Israel. Well, Jonah is Israel, refusing God’s commission to be a missionary to Nineveh, the Gentile city, and fleeing across the Mediterranean to escape. But God proves himself omnipresent: he sends a deadly storm; Jonah, spotted by lot as the guilty man, is thrown overboard; a great fish swallows him and three days later disgorges him. I wonder whether that is not an allegory of the exile in Babylon and the return. At any rate postexilic Israel still begrudged any help from God to Nineveh, and when, in response to Jonah’s reluctant preaching, the city repented, "it displeased Jonah exceedingly, and he was angry." Read the book and see how it ends, with God rebuking the surly Jonah and saying, "Should not I pity Nineveh, that great city, in which there are more than a hundred and twenty thousand persons who do not know their right hand from their left, and also much cattle?" How utterly ridiculous to interpret this moving and prophetic affirmation of God’s universal care for all mankind as a literal miracle story about a whale swallowing a man!

Sixth, don’t be afraid to doubt certain miracles which some Christians consider essential to their faith. If, for example, you doubt the virgin birth of Jesus, you have plenty of good Christian company. I am not trying to tell you what you should think about the virgin birth; I am simply indicating that personally I cannot believe it. Paul apparently never heard of it; Mark, the earliest Gospel, does not mention it; John in his first chapter seems deliberately to bypass it. Only twice in the New Testament is it mentioned -- in Matthew and Luke -- and even there it seems to be a late addition, because the two genealogies of Jesus both come down to Joseph, not to Mary. In the monastery of St. Catherine on Mount Sinai I have myself seen a Syriac translation of Matthew --evidently from an earlier Greek version than the one we now have -- in which the genealogy of our Lord ends as it must logically have ended: "Joseph begat Jesus." Moreover, so many Christians seem to think that the story of the virgin birth confers uniqueness on Jesus, whereas the fact is that miraculous birth, without human fatherhood, was a familiar explanation of distinguished persons in all the ancient world. Such miraculous birth, in one form or another, was ascribed to Buddha, Zoroaster, Lao-tse, and Mahavira in the religious realm, and to personalities like Persius and Augustus Caesar in the secular realm. A familiar argument among early Christian apologists was that, if the Romans and Greeks believed that so many other people were born of a virgin, why could they not believe that Jesus was so born. Anyway, whatever conclusion you come to, don’t treat that kind of miracle story as basic to your Christian faith. Jesus’ divinity surely was not physical -- what could that mean? His divinity lay in his spiritual quality.

Finally, never forget that, despite modern science, this is still a miraculous world. As Walt Whitman said,

Why, who makes much of a miracle?
As to me I know of nothing else but miracles. . . .
To me every hour of light and dark is a miracle,
Every cubic inch of space is a miracle.


Imagine yourself back millions of years ago, when earthquakes and volcanoes ruled the uninhabited earth, and along the ocean’s edge the first microscopic forms of cellular life were emerging --on which would you have placed your bet, volcanoes or cells? How utterly unpredictable the future of life on earth then was! So modern science has not reduced this universe and us within it to dull, monotonous, predictable uniformity. Something marvelously creative and unforeseeable is going on here. And, as for the New Testament, think as honestly and intelligently as you can about miracles attributed to Christ, but don’t forget the major fact: he is the miracle. Who ever could have foreseen a life like that?


See also: Harry Emerson Fosdick, What Keeps Religion Going and Miracles, Mormons, and Harry Emerson Fosdick: the challenge of inoculation. I shall continue my analysis of Henry Poole Is Here in my next post.

Thursday, February 5, 2009

The Big Kahuna And Evangelism



First things first---we started our Wed. nights back up 2 weeks ago and Vick is doing the Faith And Films study again after our church-wide Winter hiatus from Wed. nights. We are doing new movies this time and started with the film, The Big Kahuna. Last night we discussed the film---anyways, here is a basic description of the film:
The Big Kahuna is a 2000 movie adapted from a play entitled Hospitality Suite, written by Roger Rueff, who also wrote the screenplay. John Swanbeck, the director, makes few attempts to lessen this film's resemblance to a stage performance: the majority of the movie takes place in a single hotel room, and nearly every single line of dialogue is spoken by one of the three actors.

Plot
Kevin Spacey plays Larry Mann, a relentlessly foul-mouthed cynic; Danny DeVito plays Phil Cooper, a world-weary average Joe; and Peter Facinelli is Bob Walker, a devout and earnest young Baptist. The three are in the industrial lubricant industry; Larry and Phil are marketing representatives and Bob is part of research and development. The three are attending a trade show where they expect to land a very important account, a rich businessman Larry refers to as The Big Kahuna. As the night progresses, Larry unleashes a torrent of scathingly funny witticisms, most directed at Bob, but finds himself relying on the newest member of the trio when their quarry invites Bob (and only Bob) to an exclusive party.

While Phil and Larry wait for Bob to bring them the news that could end their careers, they muse over the meaning of life. Bob finally returns and offers a bombshell: rather than try to sell their product, he has instead chosen to talk to the man with deep pockets about … religion. In the face of Larry's towering outrage, Bob stands fast for all that is pure and true. But Bob is unable to muster any reply at all when Phil quietly explains how he sees no difference at all between Bob's preaching and Larry's fast-talking.


Secondly, regardless of the language, which all language is socially constructed anyway---the film offers an interesting look at the question of evangelism in postmodernity. The word Evangelism comes from the Greek word "εὐαγγέλιον (transliterated as "euangelion/evangelion") via Latin "Evangelium", as used in the canonical titles of the four Gospels, authored by Matthew, Mark, Luke, and John (also known as the Four Evangelists). The Greek word εὐαγγέλιον originally meant a reward for good news given to the messenger (εὔ = "good", ἀγγέλλω = "I bring a message"; the word angel is of the same root) and later "good news"." Here are Vick's discussion questions:

Going back to the question of evangelism, the question is framed as such: should evangelism be as: ---part 1

---part 2 as the fundamentalists/pharisees/traditionalists/so-called keepers of orthodoxy suggest or: as the emerging/emergent/moderate progressive/liberal Christians suggest.

This quote from the movie critiques the former view and accepts the later view of believers building relationships with non-believers as Jesus does in the Scriptures:
Phil Cooper: "It doesn't matter whether you're selling Jesus or Buddha or civil rights or 'How to Make Money in Real Estate With No Money Down'. That doesn't make you a human being; it makes you a marketing rep. If you want to talk to somebody honestly, as a human being, ask him about his kids. Find out what his dreams are – just to find out, for no other reason. Because as soon as you lay your hands on a conversation to steer it, it's not a conversation anymore; it's a pitch. And you're not a human being; you're a marketing rep."
For more ideas about the movie see: The Big Kahuna.

Wednesday, January 14, 2009

Wii Games

Sorry again for the lack of updates for awhile, but I've been playing around with the Wii lately. Since Vick asked on my last post---Santa got a Wii bundle which included Summer Sports Paradise and Monster 4X4: World Circuit (with wheel) along with 2000 Wii points as well as the already included Wii Sports. I also got Lego Star Wars, which I had gotten for my brother, but he already had it---so that is one reason Santa wanted to bring a Wii this year. My brother got me Wii Music. With some of my Christmas money, I got some Wii accessories as well as these games: The Legend of Zelda: Twilight Princess, Wii Play with Wii Remote, Carnival Games: MiniGolf, Mario & Sonic at the Olympic Games and I got Cooking Mama: Cook Off and Ultimate I Spy. My mom got Active Life Outdoor Challenge with some of her Christmas money as Wii Fits are hard to find and Active Life Outdoor Challenge works as a nice substitute.

Saturday, November 15, 2008

The Movie Signs And Faith




This past Wed. night, we discussed the movie, Signs as we watched that movie for the last two Weds. Vick didn't have a handout prepared as we were going to watch the movie, The Big Kahuna, but had to substitute Signs instead. For that movie the question: how can we share our faith in this postmodern age? is appropriate. But anyways---back to Signs---here is some general background info on the movie:

Signs is a 2002 science fiction thriller film written, produced, and directed by M. Night Shyamalan starring Mel Gibson, Joaquin Phoenix, Rory Culkin, and Abigail Breslin. Although the plot revolves around aliens and crop circles, producer Frank Marshall said, "It's really about human emotions set in motion by a supernatural event." The film received generally positive critical reception and was one of the highest grossing films of 2002.

(As a side note, since Vick is involved in the movie industry, I'd just like to say that one of my relatives on my dad's side, Don Smetzer got to know the Culkin family really well when he was the still photographer for Home Alone).

One of the issues of the movie, Signs, is the loss of faith. In one of the key scenes at 9:17-9:31 of this clip:

reminds me somewhat of 1:37-1:53 of this clip from Amadeus and Family Guy: ---if just for the sense of feeling abandoned by God. Loss of faith is a mystery, but for whatever reason---it happens and tragedy like in the movie is a common cause of it. As an example the esteemed textual critic, Bart D. Ehrman:
... says the reason he turned to agnosticism was due to his inability to deal with the problem of evil and suffering as it is presented in the bible and not the reliability of the text.


Vick brought up this verse within the context of the movie:
Romans 8:29 RSV- For those whom he foreknew he also predestined to be conformed to the image of his Son, in order that he might be the first-born among many brethren.

In Greek: οτι ους προεγνω και προωρισεν συμμορφους της εικονος του υιου αυτου εις το ειναι αυτον πρωτοτοκον εν πολλοις αδελφοις

Transliterated: oti ous proegnô kai proôrisen summorphous tês eikonos tou uiou autou eis to einai auton prôtotokon en pollois adelphois


For a more detailed study of this verse see: Romans 8:29. The two key terms are:
proginosko--- Definition
Strong's - to know beforehand, that is, foresee: - foreknow (ordain), know (before).
Thayer's - to have knowledge before hand; to foreknow - of those whom God elected to salvation; to predestinate.
Webster's - To have previous knowledge of; to foresee.
And: προώρισεν (proōrisen)--- Definition
-to predetermine, decide beforehand
in the NT of God decreeing from eternity
to foreordain, appoint beforehand

Predestination:
A Calvinist understanding of this verse is that individuals are randomly and arbitrarily chosen by God before God even created the world with no insight into individuals' lives as if God played Russian Roulette to determine who is saved. The Hyper-Calvinist view is that God even chose who is damned through no fault of their own. The Arminian understanding is that: "...God does not so much choose, but instead infallibly predicts, who will believe and, persevering, be saved. Although God knows from the beginning of the world who will go where, the choice is still with the individual." The Barthian view is that:
predestination only properly applies to God Himself. Thus, mankind is chosen for salvation in Jesus Christ, at the permanent cost of God's self-surrendered hiddenness, or transcendence. Thus, the redemption of all mankind is a devoutly to be wished for possibility, but the only inevitability is that God has predestined Himself, in Jesus Christ, to be revealed and given for mankind's salvation.
My view is somewhere between the Arminian and Barthian views, of course. One other note is the question of the Traditional understanding of one of God's attributes, Omniscience---which was subtly explored in the film. Although, I agree with the Traditional understanding, I am sympathetic to the valid question of Open Theism: does God know all? After all, Jesus who is God incarnate said:
Matthew 24:35-36 (New International Version)
New International Version (NIV)
Copyright © 1973, 1978, 1984 by International Bible Society


35Heaven and earth will pass away, but my words will never pass away.

The Day and Hour Unknown
36"No one knows about that day or hour, not even the angels in heaven, nor the Son,[a] but only the Father.

Footnotes:

Matthew 24:36 Some manuscripts do not have nor the Son.

Wednesday, October 15, 2008

The Mission And Liberation Theology



For the past 2 Weds. we've been watching the film---The Mission---which we will discuss next Wed. Vick Griffin's handout consisted of this information:

The Mission

[edit] Historical basis---Wikipedia
The Mission is based on events surrounding the Treaty of Madrid in 1750, in which Spain ceded part of Jesuit Paraguay to Portugal. The movie's narrator, "Altamirano", speaking in hindsight in 1758, corresponds to the actual Andalusian Jesuit Father Luis Altamirano, who had been sent by Jesuit Superior General Ignacio Visconti to Paraguay in 1752 to transfer territory from Spain to Portugal. He oversaw the transfer of seven missions south and east of the Río Uruguay, that had been settled by Guaranis and Jesuits in the 1600s. As compensation, Spain had promised each mission 4,000 pesos, or fewer than 1 peso for each of the circa 30,000 Guaranis of the seven missions, while the cultivated lands, livestock, and buildings were estimated to be worth 7-16 million pesos. The movie's climax is the Guarani War of 1754-1756, during which historical Guaranis defended their homes against Spanish-Portuguese forces implementing the Treaty of Madrid. For the movie, a re-creation was made of one of the seven missions, São Miguel das Missões.[1]

Father Gabriel's character is loosely based on the life of Paraguayan saint and Jesuit Roque González de Santa Cruz.

The waterfall setting of the movie suggests the combination of these events with the story of older missions, founded between 1610-1630 on the Río Paranapanemá above the Guaíra Falls, from which Paulista slave raids forced Guaranis and Jesuits to flee in 1631. The battle at the end of the movie evokes the 8-day battle of Mboboré in 1641, a battle fought on land as well as in boats on rivers, in which the Jesuit-organized, firearm-equipped Guarani forces stopped the Paulista raiders.[2]
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-Released in 1986, starring Robert DeNiro and Jeremy Irons;
-#15 on Arts & Faith Top 100 Spiritually Significant Films list;
-Nominated for 7 Oscars; won for Best Cinematography;
-Directed by Roland Joffe [nominated previously for The Killing Fields]
-Screenplay written by Robert Bolt, whose credits included Lawrence of Arabia, Doctor Zhivago and A Man for All Seasons; Bolt won an Oscar for Best Adapted Screenplay for both Doctor Zhivago and A Man for All Seasons;
-The Guaranís were actually portrayed by a village of Colombian Indians [the Waunanas], who were transported 1,000 miles to the site of the production;
-In the blockbuster animated film Madagascar, Alex the lion gets a cross-shaped cactus stuck to his back. He then falls down a waterfall referencing the opening scene of The Mission ;
-Soundtrack composed by Ennio Morricone [nominated for 5 Oscars, Honorary Oscar in 2007]. Composed and scored music to over 500 film and television projects during his career.


My Thoughts---

Watching this film, one can't help but pick up on themes of quasi-Liberation Theology especially in the thoughts and actions of the Jesuit priests. This is mainly because Liberation Theology was born out of the theology of Roman Catholic social thought known as "the preferential option for the poor." Jesuits have been known for their support of streams of thought within Liberation Theology such as in this article or in this Blog post: Good Jesuit, Bad Jesuit: Marxism, Liberation Theology And The Lack Of Liberty from http://goodjesuitbadjesuit.blogspot.com/.

Major themes of Liberation Theology included in The Mission are:

In Robert DeNiro's character:
Matthew 10:34-49 NRSV

Not Peace, but a Sword 34 ‘Do not think that I have come to bring peace to the earth; I have not come to bring peace, but a sword.
35For I have come to set a man against his father,
and a daughter against her mother,
and a daughter-in-law against her mother-in-law;
36and one’s foes will be members of one’s own household.
37Whoever loves father or mother more than me is not worthy of me; and whoever loves son or daughter more than me is not worthy of me; 38and whoever does not take up the cross and follow me is not worthy of me. 39Those who find their life will lose it, and those who lose their life for my sake will find it.

See But to bring a sword, Jon Sobrino, Jesuit theologian, to be disciplined by Vatican and Matthew 10:34 and Liberation Theology for more details.

In Jeremy Irons' character:
Isaiah 2:1-5 NRSV

1The word that Isaiah son of Amoz saw concerning Judah and Jerusalem. 2In days to come the mountain of the Lord’s house shall be established as the highest of the mountains, and shall be raised above the hills; all the nations shall stream to it. 3Many peoples shall come and say, “Come, let us go up to the mountain of the Lord, to the house of the God of Jacob; that he may teach us his ways and that we may walk in his paths.” For out of Zion shall go forth instruction, and the word of the Lord from Jerusalem. 4He shall judge between the nations, and shall arbitrate for many peoples; they shall beat their swords into plowshares, and their spears into pruning hooks; nation shall not lift up sword against nation, neither shall they learn war any more. 5 O house of Jacob, come, let us walk in the light of the Lord!

See The Future of Liberation Theology , Culture and international relations By Jongsuk Chay and Isaiah 2:4 and Liberation Theology for further information.


Other thoughts on The Mission and Liberation Theology include:

The highly problematic, revisionist portrayal of South American history during the mid-eighteenth century in The Mission calls for even more scrutiny. Two Jesuit missionaries, played by high-profile Jeremy Irons and Robert De Niro, participate in the resistance against the intermingled conflicts with Spain, Portugal, the Pope, and many a merchant whose monetary concerns dictate their actions. The end result is "calamitous . . . : the Battle of Caibale (1756), during which [the two Jesuit leaders], several other Jesuits, and some 1500 Indians die," according to Michael Dempsey. Speaking of the seemingly licensed fictionality of the two key Jesuit characters, Joffé refers to "liberation theology" in saying that "The film in that sense is intimately concerned with the struggle for liberation in liberation theology, and that's why the historical perspective is very important, because what it's actually saying is that these people haven't come out of nowhere" [emphasis mine]. It is then Joffé and his team's historical perspectives that enable them, as Dempsey aptly puts it, to "re-oppress the people with overbearing film technology and appropriate their story for a grandiose prestige spectacle." (For full context see: Roland JOFFÉ)


[And in dealing with non-violent Atonement (another theme in the movie) and Liberation Theology see this Blog post: Nonviolent Jesus: Fernando Lugo and the Rebirth of Liberation Theology from http://nonviolentjesus.blogspot.com/].

Here is another reference:

The temporal and the eternal

This is not to say that Fr. Gabriel is concerned only with his converts’ eternal state but not with their temporal condition. On the contrary, St. James’ exhortation to look after the bodily needs of the poor as well as their spiritual needs was the whole point of the ambitiously utopian Jesuit reduccion mission communities.

During Altamirano’s inspection of the Guaranís’ living conditions on their reducciones, a haughty Spanish official opposing the Jesuits’ resistance to the slave trade sniffs, "I see no difference between this plantation and my own." Whereupon Fr. Gabriel answers emphatically: "That is the difference: This plantation is theirs." It is precisely this for which Fr. Gabriel contends, and for which he is willing in the end to die — though not, as a priest, to kill.

In fact, concern for the temporal is so evidently a theme in The Mission that some Christian viewers have been concerned about possible "liberation theology" implications in the film. In its more extreme forms, liberation theology was a purely temporal ideology that merged into Marxism. Yet to me at least it seems clear that the admirable figure here is the gentle martyr Fr. Gabriel, not the armed warrior Mendoza; the film doesn’t seem to be an apologia for armed revolution. Nor is it possible to limit the scope of the film’s interest, like that of Marxism, to the merely temporal; clearly the spiritual matters here as well.

It’s probably a moot point anyway; liberation theology is effectively dead, at least in Catholic circles. To charge a particular film with promoting liberation theology is like saying that The Three Musketeers promotes dueling: That might have been an issue once, but not today.

The Mission is not a perfect film, but it is a rich, challenging one that explores the spiritual and the temporal, and the relationship between them, in a thought-provoking way. It contains moving images of despair, penance, and redemption that are among the most evocative ever filmed. It offers a positive depiction of Catholic missionaries as selfless champions and defenders of indigenous peoples and their ways of life rather than as oppressors or imperialists. It begins and ends in martyrdom — in bearing witness, signed in blood. It deserves attentive watching and thoughtful reflection.


And one more interesting article:

LIBERATION THEOLOGY

The Serra beatification highlights the issue of what kind of message the Church wants to send today to the world, especially the Third World, where the church would like to strengthen its hand. One Southern California priest has referred to the Majorca-born Serra as an "affirmative action saint," offered to a church that, in the Sunbelt at least, is becoming increasingly Latino. In downtown Los Angeles and other urban centers THE MISSION was shown with Spanish subtitles.

And while the debate over evangelizing people in the Third World may be settled, the related matter of obedience is not. Father Daniel Berrigan, a rather rebellious Jesuit who has said "no" many times to the powers that be of this culture, and who plays a bit part in the film, suggested in American Film that there is a direct line between the Jesuit reducciones portrayed in THE MISSION, and the "Christian base communities" now being created among the poor by some priests in Latin America.

Others make the connection between priests who cast off the cloth and became revolutionary guerrillas in the 1960s, as well as the more moderate adherents of "liberation theology," which has been criticized by the Pope. Joffe recently told the Los Angeles Times that while filming the picture, "I became fascinated with liberation theology." Several members of the ruling Sandinista directorate in Nicaragua are former priests, and were publicly chided by the Pope during his 1986 visit to Managua.

Those clerics like Berrigan and his brother Phillip, a former Jesuit, who ally themselves with the poor and politically dispossessed and against the established order continue to run into trouble, as evidenced by last winter's meeting of U.S. bishops in Washington, which backed the Vatican in temporarily disciplining Seattle Bishop Raymond G. Hunthausen. Two American Jesuit priests have been forced from their order in the past year because of teachings and acts alleged to be at odds with dogma, especially in the area of sexuality. For a brief period, the Pope personally appointed the order's governing Superior General in Rome, an unprecedented break in the Jesuits' history of electing their own leader.

Addressing a crowd at Corrientes, Argentina, the Pope John Paul paid a kind of backhanded (and inaccurate) tribute to the Jesuits of THE MISSION, saying, "the missions and doctrines of the Jesuits constitute, without a doubt, one of the most worthwhile achievements that unified the Spanish, Portuguese and native worlds." In the audience were many Indians, who hold an annual procession for the Virgin Mary, whom they call "the Queen of the Guaranis."

There is evidence, apart from the Serra beatification, that that the commitment displayed by the Jesuits in THE MISSION does have a place in the sainthood process. Supporters of Archbishop Oscar Romero, who was gunned down by a right-wing death squad in El Salvador because of his opposition to the authoritarian regime then in power — an incident roughly recreated in the film SALVADOR — are now asking Rome to declare him "venerable," the first of the three steps to sainthood.


One other thing to note is the echoes between this film and the film version of Oscar Romero's life, which was produced in 1989. You can watch the whole film Romero in an earlier post of mine: TheoPoetic Musings: Romero-The Movie.

1:58-7:55 is similar to the last scene of The Mission part of which can be seen at 1:30 in The Mission's trailer: .

Thoughts? Comments? Questions?

E. T. As Messianic Alien

One film we haven't discussed yet on Wed. nights within the context of a Christian framework is E.T. the Extra-Terrestrial, so here are some thoughts about E.T. as a Christ-figure:

[edit] Themes---Wikipedia
Spielberg drew the story of E.T. from the divorce of his own parents;[20] Gary Arnold of the Washington Post called the film "essentially a spiritual autobiography, a portrait of the filmmaker as a typical suburban kid set apart by an uncommonly fervent, mystical imagination".[21] Reflections of Steven Spielberg's childhood are seen throughout: Elliott feigns illness by holding his thermometer to a light bulb while covering his face with a heating pad, which was a trick frequently employed by the young Spielberg.[22] Michael's picking on Elliott echoes Spielberg's teasing of his younger sisters,[6] and Michael's evolution from tormentor to protector reflects how Spielberg had to take care of his sisters after their father left.[8]

Critics have focused on the parallels between the life of E.T. and Elliott, who is "alienated" by the loss of his father.[23][24] The New York Times film critic A.O. Scott wrote that while E.T. "is the more obvious and desperate foundling", Elliott "suffers in his own way from the want of a home".[25] (coincidentally, E.T. is the first and last letter of Eliott's name).[26] At the film's heart is the theme of growing up. Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy (Elliott).[27] E.T. cannot survive physically on Earth, as Pan could not survive emotionally in Neverland; Neverland’s pirates are replaced by government scientists.[27] Some critics have suggested that Spielberg's portrayal of suburbia is very dark, contrary to popular belief. A.O. Scott said, "The suburban milieu, with its unsupervised children and unhappy parents, its broken toys and brand-name junk food, could have come out of a Raymond Carver story,"[25] and Charles Taylor of Salon.com said, "Spielberg's movies, despite the way they're often characterized, are not Hollywood idealizations of families and the suburbs. The homes here bear what the cultural critic Karal Ann Marling called 'the marks of hard use'."[20]

Spielberg admitted this scene triggered speculation as to whether the film was a religious parable.

[28]Other critics found religious parallels between E.T. and Jesus.[29][30] Andrew Nigels described the story of E.T. as "crucifixion by military science" and "resurrection by love and faith".[31] According to Spielberg biographer Joseph McBride, Universal Studios appealed directly to the Christian market, with a poster reminiscent of Michelangelo's Creation of Adam and a logo reading "Peace".[12] Spielberg answered that he did not intend the film to be a religious parable, joking, "If I ever went to my mother and said, 'Mom, I've made this movie that's a Christian parable,' what do you think she'd say? She has a kosher restaurant on Pico and Doheny in Los Angeles."[28]

As a substantial body of film criticism has built up around E.T., numerous writers have analyzed the film in other ways as well. E.T. has been analyzed as a modern fairy tale[32] and in psychoanalytic terms.[32][24] Producer Kathleen Kennedy noted that an important theme of E.T. is tolerance, which would be central to future Spielberg films such as Schindler's List.[6] Having been a loner as a teenager, Spielberg described the film as "a minority story".[33] Spielberg's common theme of communication is partnered with the ideal of common understanding as represented in his depiction of humans and aliens: he asks that if an alien and a human can become friends, so too can many enemies who live close to one another on Earth.[34]


Also, this website offers these thoughts about E.T. as a Christ-figure:

Theme of Persecution
Theme of Family
Critics and Supporters
Theme of Innocence
Theme of Healing
Theme of Sacrificial Love
Theme of Reserection


Also from the same website, check out this section:

Other Interesting Facts

-When E.T. died the doctor pronounced him dead at 15:36 (3:36 p.m.). It is especially significant to recall that the Gospels place the death of Jesus on the cross at some brief time after the 'ninth hour' Matthew 27:45). The Hebrew day began at 6 a.m. so the ninth hour would have been 3 p.m.

- “Both E.T. and Christ are 'extra-terrestrials,' coming into the world from the 'outside in.' Both begin their 'adventures on earth' in less-than-auspicious circumstances - E.T. in a shed behind the home where he takes up residence, Christ in an animal shelter behind the 'inn.'

- Jesus states: "I tell you the truth, unless you change and become like little children, you will never enter the kingdom of heaven." (Matthew 18:3). Elliott (to Gertie): "Grownups can't see him. Only little kids can see him." And from Mark 9:37: "Whoever welcomes one of these little children in my name welcomes me..."

- Matthew 27:51 mentions that after Jesus died, the "earth shook and the rocks split." In the 1982 E.T. novel: "They [the doctors] hardly noticed the momentary flicker in the lights, and in the equipment, nor did they fully perceive the trembling of the house, the valley. This was reserved for other men, other equipment, those that monitor disturbances deep in the Earth's core...".

- E.T. tells Elliott repeatedly: "E.T. phone home." What Bible verse is known as 'God's telephone number'? Jeremiah 33:3. ["Call to me and I will answer you and tell you great and unsearchable things you do not know."] In Rolling Stone magazine (Jan. 18/01) Bono confirmed that he changed the airport gate-sign on the cover of U2's latest album ["All That You Can't Leave Behind"] to J33-3. Bono told RS: "It was done like a piece of graffiti - It's known as 'God's telephone number'."

- Before His ascension, Jesus promises his disciples: "And surely I will be with you always..."(Matthew 28:20). Before E.T.'s ascension in the spaceship he says "I'll be right here," fingertip glowing over Elliott's chest. [E.T.'s own chest contains a glowing heart-light, analogous to the Sacred Heart portraits of Jesus.] He also said in his final moments on earth to Elliott, 'Come.' Matthew 14:29 reads, 'And he said, Come.'

Each of these examples came from (E.t. the Extra Terrestrial Savoir, 2006) and (Mann, 2005).


One other website of interest is: Jesus Covered In a Secular Wrapper: The Christ-figure in Popular Films.

Thoughts? Comments? Questions?

Wednesday, October 1, 2008

Cool Hand Luke Part 2

Last week, we finished Cool Hand Luke, so this week we discussed Christ-figures in film. After a brief sketch of ideas, we looked at two scenes from Superman---so here are some ideas of Superman as messianic archetype:

Divine Paternity

[5] David Bruce considered the infant Kal-El (Lee Quigley) to be the only begotten son of Jor-El (Marlon Brando), thus forming the second member of the Holy trinity (Matt. 28:19).12 Kal-El was the son of Jor-El just as Jesus was �the Son of God� (Mark 1:1; Heb. 10:29; 1 John 4:15). Indeed, in Superman II (hereafter S2), Lex Luthor (Gene Hackman) described Superman (Christopher Reeve) as �the son of Jor El� thereby mimicking the biblical form. To further establish the paternity of the Jor-El/Kal-El, God/Jesus, Father/Son relationship, the holographic Jor-El in the newly constructed Fortress of Solitude specifically referred to Kal-El as �my son� and to himself as �your father.� Their indissoluble genetic link was further indicated by their respective hairstyles. The stately Jor-El, the teenage Clark Kent (Jeff East) and the adult Superman (but not the adult Clark Kent) had cute forelocks dangling upon their foreheads. This biological fact resonated with Jesus�s identity claim that: �if ye had known me, ye should have known my Father also� (John 14:7).

---http://www.unomaha.edu/jrf/superman.htm

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My Thoughts:

First, Kal-El and Jor-El are plays on the generic Hebrew names for God: אל (El)-singular and אֱלוֹהִים (Elohim)-plural.

Secondly, A transliteration of Jesus’ Hebrew name, which means “Jesus the Messiah.”---also, spells the tetragrammaton out in initials, which is God’s revealed name.
יהוה or Yahweh and Jesus is Yahshua or יהשוה.

Third, http://www.google.com/search?sourceid=navclient&aq=t&ie=UTF-8&rlz=1T4GGIH_enUS266US266&q=Superman+as+Christ+figure for further info.

Last, http://en.wikipedia.org/wiki/Superman should provide more info---especially:

Influences
An influence on early Superman stories is the context of the Great Depression. The left-leaning perspective of creators Shuster and Siegel is reflected in early storylines. Superman took on the role of social activist, fighting crooked businessmen and politicians and demolishing run-down tenements.[33] This is seen by comics scholar Roger Sabin as a reflection of "the liberal idealism of Franklin Roosevelt's New Deal", with Shuster and Siegel initially portraying Superman as champion to a variety of social causes.[34] In later Superman radio programs the character continued to take on such issues, tackling a version of the KKK in a 1946 broadcast.[35][36] Siegel and Shuster's staus as children of Jewish immigrants is also thought to have influenced their work. Timothy Aaron Pevey has argued that they crafted "an immigrant figure whose desire was to fit into American culture as an American", something which Pevey feels taps into an important aspect of American identity.[37]

Siegel himself noted that the many mythic heroes which exist in the traditions of many cultures bore an influence on the character, including Hercules and Samson.[6] The character has also been seen by Scott Bukatman to be "a worthy successor to Lindberg ... (and) also ... like Babe Ruth", and is also representative of the United States dedication to "progress and the 'new'" through his "invulnerable body ... on which history cannot be inscribed."[38] Further, given that Siegel and Shuster were noted fans of pulp science fiction,[14] it has been suggested that another influence may have been Hugo Danner. Danner was the main character of the 1930 novel Gladiator by Philip Wylie, and is possessed of same powers of the early Superman.[39]

Because Siegel and Shuster were both Jewish, some religious commentators and pop-culture scholars such as Rabbi Simcha Weinstein and British novelist Howard Jacobson suggest that Superman's creation was partly influenced by Moses,[40][41] and other Jewish elements. Superman's Kryptonian name, "Kal-El," resembles the Hebrew words קל-אל, which can be taken to mean "voice of God".[42] [43]. The suffix "el", meaning "(of) God"[44] is also found in the name of angels (e.g. Gabriel, Ariel), who are flying humanoid agents of good with superhuman powers. Jewish legends of the Golem have been cited as worthy of comparison,[45] a Golem being a mythical being created to protect and serve the persecuted Jews of 16th century Prague and later revived in popular culture in reference to their suffering at the hands of the Nazis in Europe during the 1930s and 1940s. Superman is often seen as being an analogy for Jesus, being a saviour of humanity.[41][45][34][46]

Whilst the term Superman was initially coined by Nietzsche, it is unclear how influential Nietzsche and his ideals were to Siegel and Shuster.[41] Les Daniels has speculated that "Siegel picked up the term from other science fiction writers who had casually employed it", further noting that "his concept is remembered by hundreds of millions who may barely know who Nietzsche is."[6] Others argue that Siegel and Shuster "could not have been unaware of an idea that would dominate Hitler's National Socialism. The concept was certainly well discussed."[47] Yet Jacobson and others point out that in many ways Superman and the Übermensch are polar opposites.[40] Nietzsche envisioned the Übermensch as a man who had transcended the limitations of society, religion, and conventional morality while still being fundamentally human. Superman, although an alien gifted with incredible powers, chooses to honor human moral codes and social mores. Nietzsche envisioned the perfect man as being beyond moral codes; Siegel and Shuster envisioned the perfect man as holding himself to a higher standard of adherence to them.[48]

Siegel and Shuster have themselves discussed a number of influences that impacted upon the character. Both were avid readers, and their mutual love of science fiction helped to drive their friendship. Siegel cited John Carter stories as an influence: "Carter was able to leap great distances because the planet Mars was smaller that the planet Earth; and he had great strength. I visualized the planet Krypton as a huge planet, much larger than Earth".[22] The pair were also avid collectors of comic strips in their youth, cutting them from the newspaper, with Winsor McKay's Little Nemo firing their imagination with its sense of fantasy.[49] Shuster has remarked on the artists which played an important part in the development of his own style, whilst also noting a larger influence: "Alex Raymond and Burne Hogarth were my idols — also Milt Caniff, Hal Foster, and Roy Crane. But the movies were the greatest influence on our imagination: especially the films of Douglas Fairbanks Senior."[50] Fairbanks' role as Robin Hood was certainly an inspiration, as Shuster admitted to basing Superman's stance upon scenes from the movie.[51] The movies also influenced the storytelling and page layouts,[52] whilst the city of Metropolis was named in honor of the Fritz Lang motion picture of the same title.[22]


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Next we watched two scenes from Green Mile. See http://www.christiananswers.net/spotlight/movies/pre2000/thegreenmile.html and http://www.google.com/search?sourceid=navclient&ie=UTF-8&rlz=1T4GGIH_enUS266US266&q=Christians+themes+in+the+Green+Mile.

Last we watched the last scene of Cool Hand Luke again in honor of Paul Newman who ironically died the week we finished the movie.

---Luke's death and resurrection?

Thoughts?

Friday, September 19, 2008

Christian Themes In "Cool Hand Luke"



On Wed. Nights, I am doing a study on Faith and Film led by Vick Griffin of our church. The first movie that we are watching is Cool Hand Luke. Reprinted below is a handout that Vick prepared, which I have hyperlinked relevant sections for further study:


Cool Hand Luke


-Released in 1967, starring Paul Newman

-Directed by Stuart Rosenberg

-Written by Donn Pearce and Frank Pierson, based on the novel by Donn Pearce

-Nominated for 4 Oscars [Best Actor in a Supporting Role, Best Actor in a Leading Role, Best Music, Original Music Score, Best Writing, Screenplay Based on Material from Another Medium]

-Won Oscar for Best Supporting Actor [George Kennedy]

-Supporting cast included Dennis Hopper, Harry Dean Stanton, Strother Martin, Jo Van Fleet, Ralph Waite, Wayne Rogers, Joe Don Baker and Anthony Zerbe, among others

-Cool Hand Luke was produced by Jalem Productions, which was Jack Lemmon's production company

-Contains arguably one of the most memorable lines in all of film history: "What we've got here is... failure to communicate."

-Luke as "Christ-figure"-

*Central character
*An Outsider
*Associates and/or Betrayer Associate
*Death and Resurrection [?]


Next week, we will finish watching the movie but we left off at this scene:


, which looks like this: doesn't it?

Thoughts? Comments? Suggestions?