Filmowe reprezentacje ostatniej wieczerzy jako locus theologicus (trzy wizje biblijnej sceny)

The cinematic scenes of the Last Supper were treated as a challenge to visual theology. As the Last Supper, which in the films about Jesus of Nazareth (and, of course, the gospels) is the culmination (and also a turning point as an event ending Jesus` earthly activity), it is possible to see the essence of the theological message of films referring to the gospel in its presentation. The scenes of the Last Supper from three films were subjected to a comparative analysis, each of which is an individual director`s vision. These are The King of Kings (1961) by Nicholas Ray, The Passion of the Christ (2004) by Mel Gibson and The Thorn of God (2015) by Óscar Parra de Carrizosa. The selection criterion was the importance given in the films to the scenes of the Last Supper and their mutually diverse representations. It has been shown how the established new transmission of visual theology modifies the meanings determined by classical theology, basically not deviating from the framework set by it.

TINJAUAN TEOLOGIS TERHADAP TEORI SALIB IOANES RAKHMAT

Ioanes Rakhmat adalah seorang teolog, di mana “semangatnya” adalah mengkaji ajaran-ajaran yang sudah mapan dalam teologia Kristen, sehingga pemikiran-pemikirannya cenderung mengakomodir konsep-konsep theologia pluralisme. Beliau adalah ahli Perjanjian Baru, khususnya mengenai Yesus Historis.Dari karya-karya Ioanes Rakhmat, tulisan ini hendak meninjau teori salib Ioanes Rakhmat yang menentang Soteriologi Salib. Hal ini dijabarkan penulis dengan banyak mengutip uraian tinjauan dari seorang pakar, Joas Adiprasetya, seorang tokoh yang berlatar belakang sama dengan Ioanes Rakhmat.Sebuah buku karangan Ioanes Rakhmat mengenai teori salib yang berjudul Membedah Soteriologi Salib mendapat respon tandingan dari Joas Adiprasetya dalam karyanya yang berjudul Berdamai Dengan Salib. Mereka adalah pendeta dari salah satu sinode gereja yang besar GKI (Gereja Kristen Indonesia), juga dosen dari sekolah teologi kenamaan, STT Jakarta (Ioanes Rakhmat sudah menjadi mantan dosen dan pernah menjadi dosen Joas Adiprasetya). Karya Ioanes Rakhmat terbit, karena ia tidak menyukai ajaran keselamatan yang berpusat pada kematian (penyaliban) Yesus, setelah ia menonton film The Passion of the Christ yang ditayangkan di televisi. Perasaan tidak suka tersebut kemudian mendorong Ioanes Rakhmat untuk menuliskan sebuah buku yang dapat menghancurkan atau setidaknya menggoyang ajaran mengenai keselamatan yang berpusatkan pada kematian (penyaliban) Yesus, yakni “soteriologi salib”. Sedangkan, Joas Adiprasetya dalam bukunya menjelaskan bahwa tujuan karyanya adalah untuk merespons tantangan Ioanes Rakhmat dan untuk memperlengkapi warga gereja supaya memahami kekayaan soteriologi salib itu.

Dominion without End

The first of three chapters on specific popular genres, it considers the intimacies of religion and empire through a cluster of key texts that engage with retellings of the ancient Christian story. The chapter begins with Mel Gibson’s The Passion of the Christ, taking the compound of Romanized spectacle and Christianized moral economy as the basis of American imperial politics. Closer consideration of three texts, separated by 130 years—by Lew Wallace, Gore Vidal, and William Ware—generates not just local case studies of how assertions of ahistorical Christian moralism have been aligned with politically contingent American sovereignty, but forms an initial claim about how “Christian fiction” more generally theorizes a specific historical temporality both inimical to conventional ideas of progress and yet wedded to American civilizational superiority.

María Magdalena. Origen e iconografía en las artes plásticas y en el cine

Mary Magdalene has always been a controversial issue related to the Passion of the Christ. At the very beginning she seems to be supporting the ministry of Jesus of Nazareth as his first disciple. In addition, she was involved in his crucifixion and burial and, what is more, she was the first witness of his resurrection. Due to this, Jesus entrusted her with the task of giving the good news to his disciples, but nobody trusted her, especially Simon Peter. From the 6th century onwards, her legacy changed and she became a repentant prostitute for the Christianity. This paper tries to analyze how those changes have been represented in the arts and specially in the cinema.

Reception

Chris Davies’ Blockbusters and the Ancient World is the latest addition to a growing body of scholarly literature on cinematic receptions of antiquity. The author takes as his focus the swathe of ancient world epics produced since the 9/11 terrorist attacks in 2001, ranging from movies set in the ancient Greek world (including the 2004 films Troy and Alexander, and, from 2007, 300) to the Roman occupation of Britain – as seen in King Arthur (2004), The Last Legion (2007), Centurion (2010), and The Eagle (2011) – as well as those which concentrate on aspects of Christianity (Agora, of 2009, set in Alexandria in the early fifth century ce, as contrasted with the 2004 biblical epic The Passion of the Christ). Structured around a series of case studies of these individual films, the book undoubtedly adds a set of valuable contributions to the scholarly literature on each piece; its real strength lies, however, in the way in which the author draws comparisons between these case studies while simultaneously situating the movies within their wider historical, political, and cultural contexts. Davies’ introduction alone – with a broad overview of the development of cinematic depictions of antiquity from the birth of cinema to contemporary productions, along with definitions of key terms – provides an excellent starting point for those new to thinking about ancient world films, and a comprehensive filmography of works referenced is a useful research tool. There is much here too, however, which will be of value to those seeking more in-depth discussion. Detailed analysis of the films themselves – with attention to staging, casting, and characterization – is accompanied by discussion of critical responses and evidence from published interviews with directors and producers. The author is careful to point out that artistic products often resist straightforward interpretation, and that multiple readings of each film are possible (for example, the critical reception of a movie may infer a different relationship to contemporary politics than the stated intentions of its creative team). He also explores the development and fluidity of genres, and the ways in which several of these films hybridize more than one genre (for example, traces of the western are strongly evident in the Roman Britain epics; and The Passion of the Christ carries striking elements of the horror genre). What results is a sensitive exploration of the films’ relationship to US politics, in the particular context of the ‘War on Terror’ and the US-led invasions of Iraq and Afghanistan, which examines ways in which the films ‘have inspired allegorical and metaphorical readings in which the past has been used to contextualise, warn or parallel the present’ (209).

Filmowe Marie z Nazaretu: XXI wiek

Mary of Nazareth in 21st-century films Mary of Nazareth is for the Christians a particular figure: she is Mother of Jesus, mentioned in the New Testament. Since Jesus became protagonist of hundreds of films, also Mary has been present in numer-ous films: thus she can be found in cinematic adaptations of the Gospel, while she accompanies Jesus during his childhood, or his Passion, but usually she is not not the main character. Several publications interpret Mary in films e.g., by Catherin O’Brien or Reinhold Zwick. The paper analyzes images of Mary in three recent films: in The Passion of the Christ dir. Mel Gibson, 2004 there is a particular rapport between her and the suffering Son, in Let it be dir. Guido Chiesa, 2010 near feminist Mary becomes an independent woman, whose understanding is necessary to understand Jesus, in The Star dir. Timothy Reckart, 2017, an animation on the birth of Jesus, the pleasant figure of Mary lacks a serious psychological dimension.