By Jessica Western
Dr Christopher Deacy's article Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate? examines the idea of Christ-figures in modern films, and provides a fairly comprehensive argument. He posits that it is not enough simply to recognise elements in a film character that also belong to the figure of Christ, but that once this has been recognised, a serious theological reflection must take place concerning what the presence of a Christ-like figure in a film actually means (2006). I agree with this approach. However, to me, Deacy's article deals too little with the Christ-figures themselves, and where they come from.
The vast majority of the films Deacy cites - Edward Scissorhands, One Flew Over the Cuckoo's Nest, Blade Runner - are widely seen as secular, despite the fact that a Christ-figure may be discerned in them (2006). If this is the case, it is unlikely that the parallels between these characters and Jesus Christ are deliberate on the part of the filmmakers. So, is it done unconsciously? Are these Christ-figures the product of biblical affiliation in the director's subconscious? It is possible. However, I believe it is more likely that the recognition of a Christ-figure in a popular film is a result of the viewer's own perspective. In short, a Christ-figure isn't there until we as viewers put him/her there.
This is an important distinction. A Christ-figure put there by the film director has one meaning only: the director's meaning. On the other hand, a Christ-figure perceived by a viewer has thousands of possible meanings - one each for thousands of possible viewers. In this way, the possibility of a discussion, or a dialogue, between the film and the theology is opened up, and this is what Deacy states is indispensible (2006). Seeing that Edward Scissorhands shares certain characteristics with Jesus Christ is virtually meaningless, unless some reflection on what that means, both for the film and for the religion, is entertained (2006). This is only possible if the perception of Christ is flexible.
I agree with Deacy; finding the Christ-figure isn't the important part. Without the Christ-figure to find, though, none of these dialogues between film and theology would be able to take place. Therefore, some thought must be given to the nature of the Christ-figure, in order to better understand the scope of the dialogue.
References
Deacy, C. Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate? In The Journal of Religion and Popular Culture. Retrieved 19/03/13 from http://www.usask.ca/relst/jrpc/art13-reflectcinematicchrist.html
Tuesday 19 March 2013
Tuesday 12 March 2013
Religion in Modern Art
James Elkins' article Bridging the Gap Between Modern Art and Religion claims that contemporary artists who consider Western religious or spiritual ideas in their work are being marginalised by the greater art world. Art students whose work has religious content are being denied productive criticism by instructors who do not wish to discuss religious concepts. On the other hand, art which is critical of mainstream Western religions is receiving wide acclaim. This article aims to highlight the disparity between the treatment of religiously-focused art and secular art which examines organised religion, and in this, it is fairly successful. In very few words, it outlines the issue and explains its prevalence, as well as offering a possible solution. However, the argument is slightly weakened by Elkins' attempt to divide the global art community into two discrete groups, the 'religionists' and the others. 'Religionists' are those - artists, art historians, art scholars - who involve religious concepts in their work. The others are everyone else.
While this is a useful tool for furthering Elkins' argument, it is also an over-simplified view of the art world, and of the idea of religious exploration. 'Everyone else' includes artists who criticise religious ideas in their art, and yet, by Elkins' description, their work does not possess religious content. He does not discuss the idea that religious or spiritual exploration may also be criticism of religious concepts. It is a very simplistic observation that says art dealing with religious themes is either religious or critical of religion. It is true that Elkins is only constructing his argument like this because of his observations of the dichotomy of religious and non-religious art. However, since his article aims to solve this issue, taking part in it in this way is counterproductive.
On the whole, though, this is a clear and fairly comprehensive article that draws attention to the issue at hand in an effective manner. It is possible that the disparity Elkins descibes will lessen over time as religion becomes less of a taboo subject and the discussion of religious 'reenchantment' becomes more acceptable. The root of the problem may be that the art world is considered, and considers itself, to be a secular sphere, and therefore religious contributions are out of place. As more people realise that this is not the case - or does not have to be, at least - perhaps the marginalisation of religious art will cease to be possible.
Jessica Western
References
Elkins, J. Bridging the Gap Between Modern Art and Religion. In Chicago Art's News. Accessed 12/03/13 from http://www.chicagoarts-lifestyle.com/cac-perspectives-can-modern-art-and-religion-get-along/#more-660
While this is a useful tool for furthering Elkins' argument, it is also an over-simplified view of the art world, and of the idea of religious exploration. 'Everyone else' includes artists who criticise religious ideas in their art, and yet, by Elkins' description, their work does not possess religious content. He does not discuss the idea that religious or spiritual exploration may also be criticism of religious concepts. It is a very simplistic observation that says art dealing with religious themes is either religious or critical of religion. It is true that Elkins is only constructing his argument like this because of his observations of the dichotomy of religious and non-religious art. However, since his article aims to solve this issue, taking part in it in this way is counterproductive.
On the whole, though, this is a clear and fairly comprehensive article that draws attention to the issue at hand in an effective manner. It is possible that the disparity Elkins descibes will lessen over time as religion becomes less of a taboo subject and the discussion of religious 'reenchantment' becomes more acceptable. The root of the problem may be that the art world is considered, and considers itself, to be a secular sphere, and therefore religious contributions are out of place. As more people realise that this is not the case - or does not have to be, at least - perhaps the marginalisation of religious art will cease to be possible.
Jessica Western
References
Elkins, J. Bridging the Gap Between Modern Art and Religion. In Chicago Art's News. Accessed 12/03/13 from http://www.chicagoarts-lifestyle.com/cac-perspectives-can-modern-art-and-religion-get-along/#more-660
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