دانلود کتاب T&T Clark Companion to the Bible and Film

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Title Page\nCopyright Page\nContents\nList of Figures\nList of Contributors\nIntroduction:Biblical Film Studies\n Biblical film?\n Why Bible and film?\n Whither biblical film scholarship?\n The essays\n Notes\n Works cited\nPart 1: Contexts\n Chapter 1: Apocalypse Noir: The Book of Revelation and Genre\n Apocalypse awakes\n Apocalyptic awareness\n Ascribing apocalypse\n Summary\n Noir knowing: Film noir and neo-noir\n That noir feeling\n Blatant blinds and scripted sax\n Seething sex and violence\n Refracted femme fatales\n Summary\n Affective apocalyptic\n Seeing composite\n Rampant reveal and conceal\n Fixing perceptions: The destruction of the world\n A different apocalypse\n Conclusion\n Notes\n Works cited\n Chapter 2: Counting Errors or Understanding Filmic History: Historiophoty and Bible Films\n Filmmakers as historians\n Film genres of the biblical film\n Conclusion\n Notes\n Works cited\n Chapter 3: In the Creator’s Image: Divine and Mundane Self-Reproduction in Science-Fiction Films\n Nonhuman creator(s), human creatures\n Human creators, mechanical creatures\n Human creators, human creatures\n Mirror images?\n Notes\n Works cited\n Chapter 4: Murderous Archaeologists, Doubting Priests, and Mesopotamian Demons: The Bible in Horror and Adventure Cinema\n Notes\n Works cited\n Chapter 5: Comedic Films and the Bible\n Comedic movies derived from the Bible\n Comedic movies that reference the Bible\n Conclusion\n Works cited\n Chapter 6: The First Seventy Years of Jesus Films: A Canonical, Source-Critical History\n The “pre-canonical” era of Jesus movies (1906–13)\n The “canonical” era of Jesus movies (1927–65)\n Beyond the biopic canon\n Conclusion\n Notes\n Works cited\n DVDs referenced\n Chapter 7: Justice, Empire, and Nature:\n Justice and deliverance: Park Chan-wook’s vengeance trilogy (South Korea)\n Empire and covenant: Three historical epics (China)\n Nature as new creation: The divine vision of Hayao Miyazaki (Japan)\n Conclusion\n Notes\n Works cited\n Chapter 8: Biographical Approaches to Jesus Films: Prospects for Bible and Film\n Biographies of films/making the case\n The Social Lives of Things/biographical precedents\n Toward a social life of a Jesus film/a case study\n Conclusion\n Notes\n Works cited\n Chapter 9: Frames and Borders in Deuteronomy and Films on the Palestinian–Israeli Conflict\n Frame-brakes and framing reality\n Frames and borders\n Conclusion: Territory and tradition\n Note\n Works cited\n Chapter 10: “Blessed Are the Peacemakers”: The Deployment of Jesus in American and German Cinema During and After the First World War\n Intermission: America 1918: Love your enemies (but not too much)\n Germany 1923: Those who live by the sword\n Notes\n Works cited\n Chapter 11: German Jesus Movies\n Actualizations: Pilatus und andere and Jesus Cries\n The Second Coming: Das Geheimnis, Jesus liebt mich, and Shorts\n Blasphemous interventions: Das Gespenst and Jesus—Der Film\n Conclusion\n Notes\n Works cited\n Chapter 12: Once Upon a Time in the West . . . ThThe Fate of Religion, the Bible, and the Italian Western\n The “Moment” of the Italian Western\n The first stage of capitalist transformation\n The second stage of capitalist transformation\n Concluding remarks\n Notes\n Works cited\nPart 2: Theories\n Chapter 13: A Return to Form: Bible, Film Theory, and Film Analysis\n Reading for the plot\n Formalism and poetics\n Notes\n Works cited\n Chapter 14: Seven Stations of Affect: Religion, Affect, and Mel Gibson’s The Passion of the Christ\n First station: Affect and the embodied mind\n Second station: Affect, religion, and film\n Third station: Rituals and gatherings; passion plays and public morals\n Fourth station: Toward a critical, affective film theory\n Fifth station: Seeing is believing: The embodied, affective eye\n Sixth station: Cutting Jesus\n Seventh station: Feeling terrible: The passion and/as horror\n Final credits\n Notes\n Works cited\n Chapter 15: Rock Me Sexy Jesus?: Gender and Sexuality in Biblical Films\n Ecce Homo, Ecce Hero\n Angels in the movie house\n Good heterosexual families and queer deviant villains\n Ethnicity and perversity\n Concluding thoughts\n Notes\n Works cited\n Chapter 16: “Sooner Murder an Infant in Its Cradle”: Wisdom and Childlessness in The Sweet Hereafter\n Notes\n Works cited\n Chapter 17: Son of Man: A Case Study in Translation, Postcolonialism, and Biblical Film\n Son of Man: Opening credits\n Where credit is due\n The opening scene\n Jesus speaks Xhosa\n The contest for the world\n Son of Man and postcolonial critique\n Notes\n Works cited\n Chapter 18: American Slavery, Cinematic Violence, and the (Sometimes) Good Book\n Violence and representation\n Tarantino’s splatter comedy\n McQueen’s artistic rumination\n Parker’s conventional melodrama\n Conclusion\n Notes\n Works cited\n Chapter 19: Deleuze on Film, and the Bible\n The cinema books\n Simulation and the real\n Schizoanalysis and the Bible\n Conclusion\n Works cited\n Chapter 20: There’s a New Messiah in Town: The Messianic in the Western\n The messianic\n There is a new messiah in town: The messianic in/and the American Western\n The outlaw messiah: Shane\n Indians in/as messianic challenge to empire: The Revenant\n Messiahs outside the law\n Notes\n Works cited\n Chapter 21: Lars von Trier’s Dogville as a\n Subverting conventional wisdom\n Experience-taking, character identification, and transformation\n Conclusion: Dogville and the Sheep and the Goats\n Notes\n Works cited\nPart 3: Texts\n Chapter 22: Can We Try that Again?: The Fate of the Biblical Canon on Film\n The early silent era: From the birth of cinema through to the first feature length Bible films (From the Manger to the Cross [1912] and Judith of Bethulia [1914])\n The late silent era: From Intolerance to the end of the silent era9\n The early sound era—From the first “talkies” to early 1949\n The Golden Era: From Samson and Delilah to The Bible\n Experimental era: 1967–89\n The canon around the millennium (1990–2004)\n The contemporary period: From The Passion of the Christ to today\n Conclusions\n Notes\n Works cited\n Chapter 23: Reversing the Hermeneutical Flow: Noah’s Flood in Recent Hollywood Films\n Noah’s flood (Gen. 6:5-9:28)\n Cinematic treatments\n Noah (2014)\n Evan Almighty (2007)\n Moonrise Kingdom (2012)\n Reversing the hermeneutical flow\n Notes\n Works cited\n Chapter 24: A Genre(s) Approach to The Prince of Egypt\n Biblical adaptation\n Bildungsroman\n Epic\n Myth\n Conclusion\n Notes\n Works cited\n Chapter 25: “What Child Is This?”: Reflections on the Child Deity and Generic Lineage of Exodus: Gods and Kings\n What child is this? Child deities and messengers\n What child is this? What a brat we have in Malak\n What child is this? Modern fears of the uncanny\n What child is this? The film as biblical epic and Scott film\n Summation\n Notes\n Works cited\n Chapter 26: “What Shall We Do with the Tainted Maiden?”: Film Treatments of the Book of Esther\n Feature films of Esther\n Background context\n How the narrative ends\n Esther\n The theme of the story\n Summary\n The art film Esther\n Background context\n How the narrative ends\n Esther\n Theme\n Conclusion\n Notes\n Works cited\n Chapter 27: Desert Tales: Mark and Last Days in the Desert\n A desert tale\n The place of light and shadows\n The time of quarantine\n Borderlands\n Conclusion: Desert, desertion, delirium, destruction, delight\n Notes\n Works cited\n Chapter 28: A Revolutionary Passion Film: Giovanni Columbu’s Su Re (The King)\n Jesus as the Suffering Servant of Yahweh\n Evocation of the oral tradition\n The influence of a kindred spirit\n The violence of the passion\n Questions of style and technique\n Jesus and his passion as mystery\n The mystery of the resurrection\n Conclusion\n Notes\n Works cited\n Chapter 29: A Deadly Daughter?: Salome’s Cinematic Afterlife\n Saving Salome (1953)\n Saura’s Salomé (2002)\n Conclusion\n Notes\n Works cited\n Chapter 30: Belief Is in the Eye of the Spectator: Beholding the Other Actor’s Reaction\n Notes\n Works cited\n Chapter 31: Ben-Hur (2016): Jesus Finds a Voice\n Scene 1: Jesus the carpenter speaks to Ben-Hur about love of neighbor\n Scene 2: Jesus offers a cup of water to Judah\n Scene 3: Jesus of Nazareth interrupts the stoning of a man\n Scene 4: Jesus is arrested by the Jewish authorities\n Scene 5: Judah offers Jesus a cup of water as he is led away to be crucified\n Scene 6: Jesus of Nazareth’s sayings from the cross\n Notes\n Works cited\nFilmography\nFilm Index\nModern Author Index\nScripture Index