By Adele Reinhartz
Movies that have drawn suggestion 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 crucial, critically-acclaimed and highest-grossing motion pictures of all time, including:
- The King of Kings
- Ben-Hur
- The ardour of the Christ
- Frankenstein
- Close Encounters of the 3rd Kind
- 2001: an area Odyssey
- Apocalypse Now
- Monty Python’s lifetime of Brian.
Written by means of a group of overseas students, the fifty entries talk about the Biblical tales, characters or motifs depicted in every one movie making this booklet the right consultant for an individual attracted to the long-standing dating among the Bible and film.
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Additional resources for Bible and Cinema: Fifty Key Films
Sample text
Cinematography: Henning Kristiansen. ] Set against the windswept landscape of the northernmost portion of Denmark’s Jutland peninsula, Babette’s Feast is director Gabriel Axel’s retelling of the short story of the same name by Danish author Karen Blixen (Isak Dinesen). Here the lives, piety, and day-to-day cuisine of Babette’s Feast 19 the characters mimic their austere surroundings, with the hymns of the film serving as a descant invoking something beyond. In terms of genre, Babette’s Feast is both Christ-figure film (Stone 2000: 160–62) and an ecclesial vision (Anker 2004: 191–214; see also Så som i himmelen, 2004).
Though Herzog disavows that Aguirre 11 connection (Cronin 2002: 93), it is hard to dismiss signs of death and the ‘rebellion against an inevitable and catastrophic defeat’ so pervasive in Aguirre and similar films as unrelated to the destruction of Nazi Germany (Nagib 2011: 82–83). At the end of the film, Aguirre, the lone figure on the raft of death, still dreams of finding Eldorado, taking Trinidad from the Spanish crown and Mexico from Cortez. His daughter dead at his feet, he delivers a trancelike soliloquy: ‘I, the Wrath of God, will marry my own daughter and with her I will found the purest dynasty the earth has ever seen.
Cinematography: Henning Kristiansen. ] Set against the windswept landscape of the northernmost portion of Denmark’s Jutland peninsula, Babette’s Feast is director Gabriel Axel’s retelling of the short story of the same name by Danish author Karen Blixen (Isak Dinesen). Here the lives, piety, and day-to-day cuisine of Babette’s Feast 19 the characters mimic their austere surroundings, with the hymns of the film serving as a descant invoking something beyond. In terms of genre, Babette’s Feast is both Christ-figure film (Stone 2000: 160–62) and an ecclesial vision (Anker 2004: 191–214; see also Så som i himmelen, 2004).