Seen on the Screen: where does a cinematic Christ-figure come from?

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