Like Sofia, I too believe that the portrayal of women in
American media is highly sexist, and at times, highly inappropriate. The absence of
serious, high profile female news anchors and the focus on the superficial
aspects female politicians is definitely an area for concern. Furthermore, the
portrayal of some of the female news anchors that are employed by the American
networks can be even more concerning, as they are frequently presented as
highly sexualized individuals, as evidenced in the extremely short skirts of
many female anchors on Fox. However, as the content of western media is largely
governed by ratings, what is the possible solution? Fox News ranks number one in viewership compared to other news agencies and shows such as “The
Today Show” and "The View", programs hosted by female anchors that frequently deal with highly
trivial issues, are extremely popular. The American public is watching this
content, and they love it! Although, like many, this is something I find to be
extremely frustrating, more importantly, I feel that it highlights the potential difficulty in finding a solution to this problem.
Headlines and Short Skirts...up next on FOX
After speaking to a friend, who is an editor
for one of UofT’s campus papers, she suggested that the best way of dealing
with it is to simply ignore these portrayals, as they ultimately highlight the
decline of the credibility mainstream western media. Although I understood her
point, as I too no longer rely on these sources for objective news coverage,
after some consideration, I had to disagree. Although many can see the forest
for the trees, a large number of people still rely on these media outlets to stay current. Just
because these broadcasts are a joke to many, does that make it justifiable for
them to portray stereotypes of women that are socially unacceptable? Definitely not.
Ultimately, unless people stop watching this content, the presentation of women
in this manner isn’t going to change.
Despite the numerous assignments I had due during the last week of
class, after finding out that the focus of the last lecture was going to be
on the apocalypse and its representation in popular culture, I knew that I had
to attend. My interest in films documenting the world after "the end" was sparked after watching the cult classic, “28 Days Later”. Depicting a post-zombie apocalypse England, the film focusses on a small group of survivors who attempt to save themselves from hoards of individuals infected with the “rage”
virus, a scenario that continues to send shivers down my spine to this day (I mean, hypothetically speaking, the rage virus pandemic is totally probable!). Despite terrifying me, for reasons that I had trouble understanding, I found myself deeply intrigued by this movie and other apocalyptic films I have seen since.
Trafalgar Square...bet you've never seen it so bare
However, Conrad Oswaldt’s chapter, “Movies and The
Apocalypse”, in Secular Steeples: Popular Culture And The Religious Imagination, provided some intriguing insight. Oswaldt discusses something he refers to as the "apocalyptic imagination", attributing the success of secular apocalyptic films to their ability to satisfy this aspect of the human psyche, something that I find particularly intriguing. However, something that I do not agree with entirely is Oswaldt's argument that the adoption of this new role is due to the increasingly secularized Christian church,
which, as a result of its mainstream status, no longer needs to focus on the apocalypse
to encourage solidarity amongst its followers.[1] Although the secularization of the church can likely be
attributed to some of the increased interest in secular representations of the
apocalypse, I feel that the widespread appeal of this genre is derived from a more innate aspect of the human mind. Starting in the late 1960’s and early 70’s, with films such as “Planet of the
Apes” and “Omega Man”, the apocalyptic film has been an extremely successful
model and continues to be the underlying theme for a large number of films
spanning a variety of genres. Thus, based on this widespread
popularity, I find it hard to believe that a shift in how mainstream Christianity
portrays the apocalypse can be the sole purpose for this success. In a society with
a diverse array of faith groups that haven’t been secularized to the degree that Christianity
has, coupled with a growing number of “faith-less” individuals, it is likely
that the interest in the apocalypse has origins that may include, but that are definitely not limited to, the decreased focus on the apocalypse by the Christian church.
However, whether rooted in Christianity or more innate aspects of the human mind, I believe that Oswaldt is ultimately correct in his argument that the human “apocalyptic imagination” serves as an effective method for coming
to terms with our finitude, providing an outlet for us to express our own fears
concerning our inevitable demise.[3]
How the world ended in 1975 in "Omega Man"
[1] Conrad Oswaldt, “Movies
and the Apocalypse,” in Secular Steeples: Popular Culture And The
Religious Imagination, (Harrisburg: Trinity Press International), 159
As avid fan of AMC’s “The Walking Dead” and someone who
lives in perpetual fear of the inevitable zombie apocalypse (my plans are
ready…are yours?), Valdy’s post regarding the show and its message caught my
interest. Although I was initially attracted to the show based on its excellent
story telling and nail biting suspense (not to mention the fact that it is a
very rich source of ideas for my own preparations!), what kept me coming back
where the complex characters and the messages they conveyed. Like Valdy, I feel
that, through characters such as the persistent Rick Grimes, the writers do a
very good job of conveying the notion that terror can have a positive effect in
forcing people to find the positive in the direst conditions. However, Valdy
also highlights another message that I find extremely interesting, the moral
dilemma presented by the Walkers themselves, which is initially highlighted by
the show’s catholic figure, Hershel. Until Hershel, and his perplexing sympathy
and humanization of the zombies, was introduced, to both myself and the
characters on screen, killing the “undead” really didn’t present much of a
concern. Killing these evil, inhuman monsters was a matter of survival.
However, after encountering Hershel and discovering that he was harboring
Walkers in his barn, the simple dichotomy between us and them broke down. In
finding out that Hershel’s wife, stepson and Sophia, a young girl from the
group that is lost early in the first season, are amongst the Walkers in the
barn, one begins to understand Hershel’s perspective. Santana and Gregory in their article “Demons,
Aliens, and Spiritual Warfare: Belief and Reality,” highlight this moral
dilemma when dealing with monsters. Although we are scared by the notion of the
other, characters that truly induced fear are those who are morally ambiguous, such
as the biblical figure of the Leviathan.[1]
Ultimately, Hershel’s revelation makes the Walkers even scarier as it allows us
to see ourselves in them while potentially transforming their slaughter into
murder. In light of this, will I be ready when the zombie apocalypse comes?…I
can no longer be sure.
Sophia...Human or Monster?
[1]Richard W.
Santana and Erickson Gregory, “Demons, Aliens, and Spiritual Warfare: Belief
and Reality,” in Religion and Popular Culture: Rescripting the Sacred,
(Jefferson, NC: McFarland, 2008), 159.
As this famous quote suggests, many Japanese feel that their
time on earth as humans is a temporary state. Largely influenced by the
Japanese Buddhist doctrine, the major religion in Japan, this widely held
belief ultimately results in a culture where the realms of the living and the
dead are much closer than they are in North America. In Douglas Cowen’s
discussion on the relationship with ghosts, “in Stalking Life: The Fear of
Death and Dying Badly”, he notes that, “the Japanese…hold to a worldview in
which the realms of the living and the dead interpenetrate in a system of
mutual responsibility.”[1]
Being half Japanese myself, I can confirm the strong relationship that the
Japanese have with the deceased, which not only resulted in exposure to
terrifying ghosts stories at an early age, but also frequently lead to both
humorous and eerie conversations with my mother.
The faceless "Mujina"
As I was half-Japanese, my parents made the decision to
enroll me in an extremely progressive elementary school that offered Japanese
as a third language. Although much of the time was spent learning Kanji and
grammar, Mrs. Kishibe, our teacher, would frequently screen movies. Although
these films were aimed at children, usually cartoons, their subject matter very
frequently dealt with ghosts, such a “Mujina”, the faceless noodle merchant, and
the “Ghosts of Aokigahara Forest”. After watching these films, I would usually
ask my mother about the stories when I got home, and after her initial shock
that we watched them in class, she would proceed to tell me the “real”
versions, which were ironically much more gruesome than the watered down children’s
stories screened at school. Furthermore, her stories were usually book-ended by
affirmations that many people in Japan believe these stories to be true and she
would talk about areas in Japan, such as Tokyo’s famous Shinjuku district, which some people avoid at night due to their fear of ghosts.
Locations for Tokyo ghost tours, including the Shinjuku district and Aokigahara Forest
However, although my experiences confirm Cowen’s assertion
of the importance of ghosts in the Japanese culture, I feel that he distorts
the nature of this relationship. Claiming that the extent to which the
interconnectedness between the living and the dead in Japanese culture can be
“disturbing”, coupled with the reasoning that the “mizuko kuyo” ceremony, for
aborted fetuses, is carried out primarily to avoid attack by a vengeful spirits,
highlights the extent of his misunderstanding. From my experience, the
sensitivity for the dead is primarily a product of respect, and not misplaced
and completely irrational fear, as many Japanese myths and horror films would
have the misinformed believe. Japanese people are traditionally extremely proud
and respectful, and these virtues extend to those who are no longer living.
Thus, although the notion of vengeful and angry spirits are a concern some,
this is most likely a result of them feeling very close to a force they do not
completely understand. Ultimately, I feel that Cowen’s argument, despite
highlighting some important truths about the significance of ghost’s in
Japanese culture, misconstrues the relationship between Japanese mythology and story
telling as the actual beliefs of Japanese people.
Trailer for "Ju-on" the original Japanese version of "The Grudge"... a typical J-Horror film
[1] Douglas E.
Cowen, “Stalking Life: The Fear of
Death and Dying Badly,”in Sacred Terror Religion and Horror on the Silver
Screen, (Waco, Texas: Baylor University Press, 2008), 132.
Like Erika, I too feel that it is difficult to get truly
“attached” to a video game character. No matter which game I’m playing, I feel
that I can quite easily dissociate myself from the avatar that I am controlling
on screen. However, I also agree with Erika’s point that the degree to which
one becomes immersed in the video game experience can vary tremendously.
Although I may not feel particularly connected with the video game characters I
play, this is likely is due to the fact that gaming is of little importance to
me. However, for those who do dedicate much of their time to playing video
games, I can appreciate how a character can become an important part of their
life. Ultimately, in my opinion, it boils down to a matter of personal
interest.
For some, gaming can be a serious endeavour.
However, I feel that the matter of personal interest is where
Erika and I are at odds. One’s decision to play a video game can be influenced
by many things, including advertising and peer pressure, however personal
interest likely plays a much greater in role in determining how involved
someone becomes in the gaming experience. Thus, although a Christian game may
seem boring to many, to a select group it may be very appealing, and therein
lies the dangers that Wagner is concerned about. It isn’t that Wagner believes
that a Jesus avatar would be un-Christian, it is that the immersion,
identification and degree of play possible in gaming can provide an interaction
with Jesus that is not inline with how many interact with Christ today.[1]
It ultimately stems from a concern that we really haven’t had much experience
with any form of media that allows us to step in to Jesus’ shoes (or sandals
…seems to be what he wears in movies), and the possibility for
misrepresentation is definitely a concern. However, in light of Anton
Kozlovic’s discussion of Christ-figures in film, we may not even realize when
we are dealing with covert representations of Jesus, which is likely the case
with many video game characters.[2]
Thus we may already have experience with Christ-like avatars, calling to
question Erika’s argument that Christ and gaming are incompatible.
"Infamous" a video game rife with Christian symbolism
[1]
Rachel Wagner, “The Play is the Thing: Interactivity from Bible Fights to Passions
of the Christ,” in Halos and Avatars: Playing Video Games with God,
ed. Craig Detweiler (Louisville: Westminster John Knox Press, 2010), 62.
[2]Anton Karl
Kozlovic, “The Structural Characteristics of the Cinematic Christ-Figure,” Journal of Religion and Popular Culture
8 (2004): 1.
Following this week’s focus on violence at the intersection
of Christianity and popular culture, I began to think about the argument put
forth by Rachel Wagner in her article, “The Play is the Thing: Interactivity
from Bible Fights to Passions of the Christ”, regarding the unsuitability of
Jesus as a video game avatar.[1]
Although her concerns regarding the ability of video games to disrupt the
traditional linearity of biblical narration, and the dangers associated with
increased immersion, identification and levels of play are well supported, I
began to ask myself whether or not this really detracted from the ability of
games to effectively convey Jesus’ message.[2]
Wagner makes the argument that film is ultimately a better medium for the
portrayal of Jesus due to the fact the audience has a far more limited
interaction with the narrative.[3]
However, as seen in Anton Kozlovic’s article, “The Structural Characteristics of the
Cinematic Christ-Figure”, many films that effectively represent Christ, and what
he represents, do so in an highly indirect manner, with those involved in its
production likely having a far greater influence than any gamer would have
while playing a video game.[4]
Furthermore, many Christ figures, such as Superman and Obi-Wan Kenobi, have
already transcended the realm of cinema, becoming prominent video game avatars.
Thus, although the idea of playing Jesus himself may seem odd, perhaps many of
us may have already had some experience playing as this character…
A montage of Superman video games over the past 30 years....Have we already played a Christ-figure avatar?
To support her argument, Wagner draws upon a few extreme examples in
which Jesus is portrayed in video games. Her examples are offensive and, in the
case of the “Bible Fight" game, disturbing, highlighting the risks
associated with representing Jesus in gaming.[5]
However, as with many critiques concerning violence in games, the titles
mentioned do not represent the full range of gaming experiences to be had.
Furthermore, none of the examples Wagner provides have the players playing as
Jesus himself. How, then, can we be concerned about issues such as immersion,
identification and levels of play if we haven’t experienced it yet? The
kinesthetic and cognitive interaction afforded by gaming may turn out to be an extremely
effective outlet for modern youths to learn the message of Christ. As the level
of interaction present in modern video gaming increases, with new systems such
as Nintendo Wii and Xbox Kinect allowing players to operate avatars through
physical movement, the potential benefits and applications are even beginning
to surpass the expectations of the developers themselves. Perhaps by jumping on
the bandwagon and embracing this new form of learning, the Church can hold onto
to an audience it desperately needs.
The "Kinect Effect"... A commercial highlighting the potential and even unexpected uses of Xbox's Kinect system.
[1]Rachel Wagner, “The Play is the
Thing: Interactivity from Bible Fights to Passions of the Christ,”
in Halos and Avatars: Playing Video Games with God, ed. Craig Detweiler
(Louisville: Westminster John Knox Press, 2010), 47.
After reading Daniel’s post concerning his experience
playing semi-professional soccer in Northern France, it was interesting to see
the similarities between my own experiences as well as those highlighted by
Trothen in the article “Holy
Acceptable Violence? Violence in Hockey and Christian Atonement Theories”. To
an even greater degree, it seems that Daniel, as a semi-professional soccer
player who was paid, felt the pressures to sacrifice his own body for the
greater good of the team. Also, in a manner similar to my own experience
playing higher-level sports, he justifies his self-sacrifice by seeing it as an
essential part of his duty to his teammates, which he calls “family”. He even
goes a step further by likening his experience of joy, passion and intensity as
a player to the religious-like emotions Bain-Selbo refers to in his discussion
of devoted college football fans in the Southern United States (Bain-Selbo,
2008).
Montage of some of the hardships faced by professional soccer players
However,
although Daniel and my experiences are similar in that we are both able to
recognize the “self-sacrifice, pain and suffering” outlined by Trothen, along
with the parallels drawn to the various theories of atonement, one gets the
impression that Daniel feels that the benefits definitely do outweigh the risks
(Trothen, 2008). Based on his level of commitment, this reaction is not
surprising…one is likely willing to sacrifice more when the potential gain is
greater. However, the difference in opinion highlights a more important point.
From Daniel’s discussion, it becomes clear that many serious, and clearly
intelligent, athletes are fully conscious of the sacrifices they make.
Moreover, once the sacrifices have been made, they may not regret them, which
is seen when he admits that the phrase “fire in your heart… ice in your head”,
to him, still represents the “epitome of mental fortitude”. Thus if a subset of
high performance athletes are convinced of the benefits derived form the high
degree of self-harm they inflict upon themselves, can limitations be imposed
that would successfully deter this behaviour? Furthermore, as certain atonement
theories, such as the satisfaction and penal substitutionary theories, depict
Jesus as a self-sacrificing hero, this may highlight the fact that the self-sacrifice
observed in sports may be a typical human response, which either informed or is
informed by these theories (Trothen, 2009). Ultimately, Daniel’s response
further highlights the moral ambiguity of much of the violence seen in
competitive sports as well as the challenges in trying to limit it.
Portugal's Cristiano Rinaldo crying after a hard loss to France during the 2006 FIFA World Cup
Works Cited:
Bain-Selbo, Eric. “Ecstasy, Joy, and Sorrow: The Religious Experience
of Southern College Football.” Journal of Religion and Popular Culture
20 (2008), 13 pp.
Trothen, Tracy. “Holy Acceptable Violence? Violence in Hockey and
Christian Atonement Theories.” Journal of Religion and Popular Culture
21 (2009), 42 pp
This week’s discussion on the
link between violence in sports, and the many ways it manifests itself, hit
particularly close to home (which is why this post is excessively long!). As a
former member of U of T’s Varsity Blues rugby team and various rep hockey
teams, contact sports have played a formative role in shaping the person I am
today. Aside from the health benefits, the sense of fraternity that arises
through participation in team sports has resulted in many of my teammates becoming
close friends, while also giving me an opportunity to hone important social
skills. Furthermore, these activities demonstrated the importance of teamwork,
loyalty and dedication. However, in light of this week’s discussion and both Tracy
Trothen’s article “Holy
Acceptable Violence? Violence in Hockey and Christian Atonement Theories” and This American Life’s podcast on the
child abuse scandal that erupted at Penn State, I have been forced to
critically assess the benefit of these virtues in relation to the risk posed to
both players and society.
Team motto for the world famous All Blacks rugby team
Looking back at my own actions, it becomes clear to me that
many of these highly valued traits were fostered, in part, by the exaggerated
siege mentality that frequently arises in highly physical sports. After reading
Trothen’s article, it was evident that the foundation for the strong
relationships between my teammates and myself was likely attributed to a
dualistic, us versus them mentality, whereby working together was a means to
achieve the desired end, winning (Trothen, 2009). Trothen attributes the
normativity of this dualistic mentality to the popular Christus Victor theory of atonement that portrays Jesus as a
“fighter” who overcomes his evil enemies (Trothen, 2009). Never having given
much thought to the reasons for the inherent physical violence while playing hockey
or rugby, the link draw to this well know theological theory provided some
insight into how I was able to justify violence against those who I perceive
were against me. However, thinking back to the moments when I tackled or
checked somebody aggressively, these actions seemed much more primal than this
theory would have you believe. Furthermore, the manifestation of this violence is not only evident on
the field, but also on the sidelines and in the stands, with coaches, teammates
and fans frequently participating in violent banter that encourages harming
members of the opposing team. This scene has likely been repeated since the
beginning of humanity, whether during a fight between gladiators at the
coliseum or during a hunt in the plains of Africa. Thus, the parallel drawn
with the Christus Victor theory may,
perhaps, be better understood as the result of early Christians projecting a
typically human trait on to Christ, in order to humanize Jesus in their effort
to make sense of the crucifixion. However, whether or not human behaviour
informed this theory or the theory shapes our actions (or both – which may
actually be the best explanation), it effectively highlights how we are able to
justify acts of violence in specific contexts, such as sports, in a society
were physical abuse is generally frowned upon (Trothen, 2009). Thus, if sports
provide a venue where physical violence is acceptable, does this mentality have
to change in order for it to serve as a more effective teaching tool? Perhaps.
However, if this acceptance is a product of widely accepted social perceptions,
such as the Christus Victor theory, does
the presence of physical violence negate its potential benefits? Probably not.
Montage of "Best Hits" from the 2008 Rugby World Cup in Australia
Despite the moral ambiguity surrounding the physical
violence in contact sports, which fuels my own conflicting feelings, a form of
violence that I believe is not subject to this ambiguity is sexual abuse.
Although not being subject to it myself or knowing anybody who has, stories of
incidents always made their rounds in the locker room. Furthermore, the power
imbalance, discussed by Trothen, that ultimately facilitates this behaviour was
exceedingly obvious (Trothen, 2009). How one is perceived by superior teammates
and coaches is of central importance. The “fraternity” has a clearly defined
hierarchy, and those at the bottom are extremely vulnerable. Incidents of
overtly sexual hazing incidents for rookies in McGill University’s football
team and the many cases of sexual abuse by coaching staff, such as the charges
of child molestation against former Penn State University football assistant
coach Jerry Sandusky and the widely publicized cases against coach Graham James,
concerning his molestation of high profile NHLers, highlights how prevalent
this form of violence is. Trothen draws the link between the
penal-substitutionary theory and how it is frequently misinterpreted as
justification for the abuse of the vulnerable (Trothen, 2009). Although the
weak have likely always been targeted, I feel that the connection between the
notion of “divine child abuse” and sexual abuse by coaching staff is accurate
as both present a unique situation whereby individuals in positions of moral
authority abuse their status in order to conduct morally unjust behaviour. The
irony and potential danger of this form of violence is highlighted by the
disbelief surrounding head coach Joe Patterno’s actions after being informed
about Sandusky’s molestation of a child in the Penn State locker room. In the
podcast by This American Life, it
becomes clear that Patterno had a reputation for being a respected and morally
principled leader, explaining the disbelief, and in some cases, denial
concerning his behaviour. However, this reaction highlights how dangerous
organized sports can be in creating the optimal environment for sexual abuse. After
all, should anyone’s judgement concerning Patterno be clouded because he is a
football coach? Ultimately, although some forms of violence in sport are morally
ambiguous, others are not. Assessment of the role of violence in sports cannot
be done with a blanket approach and each form must be handled in a
case-specific manner in order to deal with the problem in an effective and
timely manner in order to minimize risks for both players and other members of
society.
Impact statement by former NHL player, Theo Fleury, regarding charges laid against his former coach
Graham James, who sexually assaulted him
Works Cited:
Trothen, Tracy. “Holy Acceptable Violence? Violence in Hockey and
Christian Atonement Theories.” Journal of Religion and Popular Culture
21 (2009), 42 pp
As a self-proclaimed Star Wars nerd myself, I was pleased to
see that someone was willing to discuss these films in light of this week’s
discussion on Christ-figures in film. Like Adrian, I agree that George Lucas’
style, through awe-inspiring special effects and dramatic musical scores,
definitely pays homage to the Christian epics of the past, such as Ben Hur and The Ten Commandments. Furthermore, the Christian references in
Lucas’ storytelling and character development are undeniable. It is definitely
true that when Kozlovic’s criteria for the cinematic Christ-figure are employed
for the character Anakin Skywalker, elements such as being “divinely sourced
and tasked” and having “special normal” characteristics seem to point to some
sort of religious influence.
Anakin Skywalker - The only human pod-racer in the galaxy!
However, I disagree with Adrian 's argument that adherence to these and
Kozlovic’s other generic characteristics make Anakin a Christ-figure. In fact,
I actually feel that it exemplifies the dangers of employing Kozlovic’s
stereotypical list when taking part in the theological interpretation of film.
Sure, Anakin fulfills many of these criteria, but so do a large number of the
other characters in the movie. All of the Jedi, as well as their “evil” sith
counterparts, take part in “miracle-like” acts through controlling the force.
Furthermore, although Anakin demonstrates his desire to provide “service to
lesser” as a child and experiences a “decisive death and resurrection”, he
spends much of his adult life as Darth Vader, the cold-blooded and unforgiving enforcer of the Galactic Empire’s rule throughout the galaxy (he becomes a sith himself!). Through this
example, the superficial nature of Kozlovic’s criteria becomes evident.
Although a character, such as Anakin Skywalker, may possess many of these
so-called Christ-like traits, that does not make them a Christ-figure. Ironically, in providing these guidelines, Kozlovic may ultimately be leading
viewers to a conclusion that he is trying to help them avoid, the false identification of Christ-like characters.
Scene from Star Wars Episode III: Revenge of the Sith
Anakin turns to the Dark Side:
Scene from Star Wars Episode V: The Empire Strikes Back
Although I have never actually said that before, according
to Anton Kozlovic, I probably should have. In his article, The Structural Characteristics of the Cinematic Christ-Figure, Kozlovic argues that Christ-figures in modern film help promote a holy subtext while
subsequently defining 25 characteristics of the cinematic Christ-figure (Kozlovic 2004). Kozlovic’s
argument, on the whole, is not flawed. He cites numerous films that, despite
having a “secular wrapper”, present obvious Christian subthemes. Some of his
examples are particularly strong, such as Superman:
The Movie, where director Richard Donner has admitted to the allusion to Christ, and The Matrix, which
has frequently been both praised and criticized for its overt Christian subtext (Kozlovic 2004). However, although the parallels between
Jesus Christ and the Christ-figures in Kozlovic’s thoroughly analyzed examples
are clear, his analysis and 25 stereotypical characteristics ultimately fail to
highlight what these similarities actually mean!
Action hero? Christ-figure?...Does it matter?
In Christopher Deacy’s critical response to Kozlovic’s
article he addresses the superficial nature of these parallels, asserting the
dishonesty “in using film for no other purpose than to illustrate a particular
religious theme” (Deacy 2006).
Although I feel that this accusation in unnecessarily strong, it does
highlight the challenges of applying Kozlovic’s list in the manner which he
proposes it to be used. Even though elements such as a Judas-like associate and resurrection
can help convey the association with Christ, as is done with Neo in The Matrix, without the appropriate
message, the mere inclusion of these stereotypical characteristics doesn’t
guarantee that a film-maker will be able “engineer powerful Christ-figures into
their production” (Kozlovic 2004).
Furthermore, Kozlovic’s emphasis on superficial characteristics can lead
to misinterpretation by those employing his list to analyze a film from a
theological perspective. As an example, looking at characters from two movies examined last class, Ricky Bobby, from Talladega Nights, has a betrayer associate, his long-time friend and racing partner Cal Naughton Jr., while Stranger than Fiction’s Harold Crick
willingly sacrifices his life. However can either of these characters, played
by Will Ferell (who has blue eyes!), be deemed Christ-figures? Not in my
opinion. More importantly, does it even matter? While being potentially misleading, Kozlovic’s list also seems to imply
that in order to teach the importance of Christ’s message, viewers require a
stereotypical Christ-figure to convey it, something that both Deacy and I feel
is unnecessary. Ultimately, Kozlovic’s checklist appears to help viewers avoid
seeing what they want to by forcing them to see things the way he does...
Blue Eyes!
Will Ferell...Christ Figure?:
Betrayal scene from Talladega Nights: The Ballad of Ricky Bobby:
Scene from Stranger than Fiction when Harold Crick convinces the author narrating his life that she can end it for the sake of the story:
Works Cited:
Kozlovic, Anton. "The Structural Characteristics of the Cinematic Christ Figure."Journal of Religion and Popular Culture. 8. (2004): 1-34.
Deacy, Christopher. "Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate?." Journal of Religion and Popular Culture. 13. (2006): 1-16.
In Sandra’s post on Kanye West’s Jesus Walks, from his debut album The College Dropout, I agree with her point that the song
effectively presents the Christian message that the everlasting presence of
Jesus Christ lies within every human being. Furthermore, I appreciate the
seeming irony in the fact that Kanye made a song about Christ, despite his
frequent brash, arrogant and frequently “non-Christian” behaviour.However, I disagree with the fact this
irony is due to the fact the West misrepresents what it means to be Christian.
In my opinion, Kanye West didn’t make this song with the intention of giving
the impression to his listeners that he accurately portrays what it means to be
Christian. In one of the lines of the song he even says:
And I don't think there
is nothing I can do now to right my wrongs/
(Jesus Walks with me)
I want to talk to God but
I'm afraid because we ain't spoke in so long/
I think that Kanye makes it clear that he, and most of society, by
definition, are in fact poor Christians, yet despite our flaws, Jesus will
forgive us for them. He focuses on the internal struggle that the many modern
Christians face in a society filled with racism, violence, drugs and poverty,
as highlighted in the lines:
To the hustlas,
killers, murderers, drug dealers even the strippers/
To the victims
of Welfare for we living in hell here hell yeah/
If Jesus Walks was a song
about changing ones life in order to life guided by the light of God, then I
definitely would agree that Kanye West would be an inappropriate person to be
singing the song and the link to Michael and the rest of the Corleone Family
justified. However, this song is about the sins Christians commit and that
Jesus will ultimately forgive us for, perhaps making “Kane” the best person to
sing this song.
Kanye Behaving Badly:
Exhibit A: Kanye West claiming President George W. Bush is a Racist on live television:
Exhibit B: Kanye West interrupting Taylor Swift's speech at 2011 VMAs:
Exhibit C: Kanye sipping on a bottle of Hennessy on the VMAs Red Carpet:
In light of this week’s in class screening of The Simpsons episode “Homer the Heretic”
(season 4, episode 3), I would like to examine the series’ cynical take on
American Christianity. Although this episode aired in almost 20 years ago, The Simpsons, now in its 23rd
season, continues to present religious content, substantiating claims such as that
quoted by Professor Harris that the animated series is the most religious show
on television. However, although many wouldn’t argue this point, the manner in
which the Christian faith is presented is the focus of much debate, often
leading to stern criticism from religious groups, while likely contributing to
its wild popularity…after all there is a fine line between fame and infamy. In an
article entitled The Gospel of Homer, published in the Ventura County
Star, the Rev. Francis Chan is quoted as saying that The Simpsons “makes anyone who follows God look like a fool”
(Kisken). Despite coming across as extreme, I feel that many critics adamant on
protecting the Christian faith may share this belief and, in their defense,
their position is not completely unfounded, as demonstrated in the following
clip:
Reverend Lovejoy, Springfield’s bible quoting Protestant
pastor, is frequently ridiculed in the show and, at first, this may seem like a
low blow to Christians (Lewis 153-165). However, as one becomes more familiar
with Lovejoy’s character, it is clear that this pastor is more a man of words
than faith, which some critics claim is attempt to highlight the flaws of organized
religion (Lewis 153-165). Although this was the general theme of the episode
viewed in class, I don’t believe it was the intention of it’s writer, George
Meyer, or writers of other episodes for that matter, to discredit those who
believe in God. Rather, by having Homer refuse to go to church, Meyer tackles
an important issue surrounding the practice of the Christian faith. Many practicing
“Christians” in the United States go through the motions of saying grace and
paying lip service at church on Sunday, something the Simpsons did as a family
prior to Homer’s revelation in “Homer the Heretic” (Lewis 153-165). However, is
this sufficient to be considered “religious”? In my opinion, certainly not. Furthermore,
when he decides to stop going to church, does God turn away from him? No, he
doesn’t.
Ultimately, it seems that the message Meyer, and The Simpsons in general, is trying to
convey is not that American Christians are foolish but rather that the acts of
false devotion that many partake in are meaningless. After all, is Ned a good
Christian only because he goes to Church every Sunday?....
Works Cited:
Kisken,
Tom. "The Gospel of Homer." Ventura County Star 04 Sep 1999,
n. pag. Web. 22 Jan. 2012.
<http://www.snpp.com/other/articles/gospelofhomer.html>.
Lewis,
Todd. "Religious Rhetoric and the Comic Frame in The Simpsons ." Journal
of Media and Religion. 1.3 (2002): 153-165. Print.
