By Steve Nolan

In their learn of faith and picture, spiritual movie analysts have tended to privilege faith. Uniquely, this research treats the 2 disciplines as actual equals, via concerning either liturgy and movie as representational media. Steve Nolan argues that, in each one case, topics determine with a represented 'other' which joins them right into a narrative the place they turn into individuals in an ideological 'reality'.

Finding many present techniques to spiritual movie research missing, movie, Lacan and the topic of faith explores the movie thought different writers forget about, fairly that blend of psychoanalysis, Marxism and semiotics - usually termed monitor idea - that makes an attempt to appreciate how cinematic illustration shapes spectator identification. utilizing translations and statement on Lacan now not initially on hand to reveal theorists, Nolan returns to Lacan's contribution to psychoanalytic movie conception and provides a sustained software to spiritual perform, interpreting numerous 'priest motion pictures' and real-life case research to reveal the best way liturgical illustration shapes non secular id. movie, Lacan and the topic of faith proposes an interpretive process through which spiritual movie analysts can increase the type of research that engages with and opinions either cultural and spiritual practice.

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In other words, Martin argues that the parallel between cinema and religion should be drawn in terms of shared participative experience, that both spectator and worshipper are embraced in a ‘total environment’, and that it is this environment that impacts on their perceptions of reality. As I indicated with Fraser, the notion of participative experience will be important in my own thesis. However, Martin’s interest is in the phenomenology of religious experience whereas I am concerned with understanding how film and liturgy, paralleled as a representational media, illuminate the construction of religious identity.

As such, he views popular films ‘as phenomena analogous to religions’ (2003, 12), he speaks about ‘the study of religion as film’ (2003, 12), considers ‘the religious voice of the film’ (2003, 34), and his reoccurring, question begging concern is ‘how film itself functions as a religion’ (2003, 34). This perspective allows Lyden to make what is an interesting and certainly original contribution to the ongoing Anthropological Interpretations 29 debate about how religion and film can be brought into dialogue.

However, his weakness is in not giving film theory enough attention. So, while he acknowledges my insistence that theologians attempt a more sustained interaction with film theory (Nolan 2003, 177), he chooses to dismiss the perspective of psychoanalytic film theory on the grounds that ‘such film theory is itself under severe challenge from within the world of film studies’ (Marsh 2004, 88). Rejecting ‘Screen theory’, Marsh relies on film critics and film analysts informed by ‘post-theory’ (Bordwell and Carroll 1996).

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