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Full Description
The special issue responds to two concurrent phenomena: the re-emergence in the 21st century of religion as a political and cultural force, and its resurgence in a range of theoretical discourses, from postsecularism to New Atheism. Mirroring this theoretical and cultural turn, cinema across the world is renewing its acquaintance with religion as private practice, public display and political force and exploring overlapping material, spiritual and doctrinal concerns in the new millennium.
This issue probes intersections between contemporary cinema and diverse theoretical, philosophical and theological engagements with religion. It compares cinema's capacity to present visual expressions of faith, evoke embodied experience and varied modalities of love, correlate earthly and divine realities and inspire belief and doubt with writings on religion and postsecularism. Contributors explore ideas about transcendence, vocation, affliction, love, doubt and forms of religious practice and expression that connect specific films with theoretical accounts that look beyond the secular.
Contents
'Love Sick: Malick's Kierkegaardian 'Weightless' Trilogy', Robert Sinnerbrink; '"My Heart Inclines Wholly to Know Where is the True Good": Mia Hansen-Løve's Post Secular Search for God', Catherine Wheatley; 'Faiza Ambah's Mariam and the Embodied Politics of Veiling in France', Kaya Davies Hayon; 'The Politics of Hair: Girls, Secularism and (Not) The Veil in Mustang (Ergüven) and Other Recent French films', Fiona Handyside; 'Mondzain, Ida and the Doubting Spectator', Libby Saxton; 'The Missing View in Global Post-Secular Cinema: Crouching Tiger Hidden Dragon as a Visual Kōan', Chia-ju Chang; 'Film's Religious Algorithm', Anat Pick.
