Now that Holy Horror’s been announced, I’m at work on my next book based on horror movies. Although some people might question the aesthetic of the horror genre, these films are sometimes remarkably intelligent and can indeed be good cinema. Having spent the better part of last weekend watching multiple flicks, however, I’ve come to realize that watching films for research is quite different than viewing them for fun. We all know the feeling of going to the theater to be exposed to the mythology of the present day; movies are the new mythology and are a common source of meaning and hope for individuals in a post-religion era. We go for the spectacle and the story. We leave, if the movie is good, with a renewed sense of purpose, or in a thoughtful state. That’s what mythology does.
In writing up my analyses of many films, I’ve noticed how little the detail is generally acknowledged in many synopses. They can make a flick seem banal. I’ve even had very intelligent people ask me why I think watching movies should be considered intellectual exercises. One reason for this, at least in my experience, is how often people rely on what they see in movies to inform them of important things. Historical events, for example. For the average person, an historical recreation on celluloid can provide recall better than a detail from some 400-page tome on the topic. Human beings are visually oriented by nature and evolution. It takes us years to learn how to read, and if we don’t keep up with the practice our ability to comprehend advanced writing atrophies. It’s easier to watch a film.
No doubt movie scripts are available for purchase. To get the message of a film, however, you need to watch. Immerse yourself in a kind of flickering light baptism. Research watching, however, involves multiple viewings. Taking notes. Watching again to make sure you got that detail correct. Some may doubt that this is an intellectual exercise at all. Still, one of the concerns that some scholars feel is that we’ve lost touch with what hoi polloi believe. People have turned to mythology from the beginning of time in the quest for meaning. Science tells us how the world works, but not why. For such questions we need our mythologies, ancient and modern. Since Nightmares with the Bible focuses on demons, I’ve had to construct a cinematic demonology that’s quite different from those of the Middle Ages. It requires, after all, a modern research method for a modern mythology. And movie watching. Lots of movie watching.
Posted in American Religion, Books, Classical Mythology, Memoirs, Monsters, Movies, Popular Culture, Posts
Tagged demons, Holy Horror, horror films, Movies, mythology, Nightmares with the Bible
Theology has never been my thing. Now, those who don’t parse things too finely may find that an odd statement. “This blog almost always addresses religion,” they may say, “how can you say theology’s not your thing?” Perhaps for the layperson “theology” means anything having to do with religion. In the biz it has a more specific meaning. Theology is tied to a faith system. It tries to explain, rationally, what that belief system entails. Religious studies is more about studying what religion is and how it works. It was this fine distinction that put me off from reading Screening the Afterlife: Theology, Eschatology and Film. Christopher Deacy treats the subject theologically and, depending on the theologian, that can mean a lot of effort for little result. I was, however, pleased about a number of things in Deacy’s book. He doesn’t shy away from horror, for one. And he takes cinema seriously.
The idea behind the book is straightforward—theology and movies should be in dialogue about the afterlife. At a number of points Deacy makes it clear that films reach a wider audience than theology books. Again, those of us in the biz know that to be very true. If people watch movies they begin to accept what those movies tell them as true. For those of one of the established faith systems, if things haven’t altered all the much since I was young, discussing the religious meaning of a secular film is always interesting. (Some of my friends drew the line, however, when I found Elijah parallels in a film where a bread machine went out of control, but that’s a story for another time.) People take movies seriously. During economically depressed times, movies thrive. We need to pay attention to them.
The problem with theology is, no matter how open it may be, there’s always some element of rightness involved—this perspective is right and that one wrong. It can hardly be any other way. To open the door too widely is to invite yourself to exit. Deacy selects films he finds theologically meaningful when addressing (mostly) Christian views of the afterlife. I’m guessing—and it’s only a guess—that many people get their information from popular media and theologians are completely off the screen. That doesn’t mean theology has no place, but it does mean that its place is in the hands of other scholars rather than those who just want to sit around and talk about the film they saw last night. Both may be profound, but one is more clearly enjoyable than the other.
Scholars employed by the academy sometimes fall under its privileged bubble. In that rarified space, the classics, the Bible, and even serious contemporary literature can be parsed and prodded until it’s no longer recognized and everyone thinks it’s normal. Out on the streets (for some of us taste the outer darkness) people have a difficult time with such minute attention to detail. People like movies. They’re visual, colorful, and they meet deep human needs. Scholars were slow to take cinema seriously, though. It was one of those passing things. Ephemeral. Shadows flickering on a screen. Never mind that the budget for a single Hollywood blockbuster could finance an entire humanities department for years. This is a strange dynamic when you stop to think about it.
S. Brent Plate, in his book Religion and Film: Cinema and the Re-creation of the World, addresses in a very intelligent way, how film is like religion. Of course, religion is often on the university chopping block these days, so it is perhaps no surprise that among the first academics to pay serious attention to movies in their discipline were religion scholars. What is truly surprising is the depth of that connection between movies and belief. For such a brief book, Plate dives deep and quickly. In a society that seems to have outlived its need for structured religion, movies have managed to hold on through recessions and depressions and terrorist attacks. Indeed, they often provide meaning during those very times. They have a ritual form that meets the kinds of needs religion has traditionally filled. Movies are well worth the time we spend getting to know them.
Sometimes, under the barrage of rhetoric that says all answers are physical, we forget that humans are meaning-seeking creatures. If there’s no purpose to life, our wellbeing suffers. Nobody looking at modern civilization objectively would say that we’re an overwhelmingly happy bunch. One way to understand the popularity of movies is to see them as venues of finding meaning. For 90 minutes to 2 hours we’re shown some version of modern mythology (at least in some cases) that serves many of the same functions as a sermon or scripture. Although Plate hyphenates the word, it is worth pondering that this is for more than mere recreation. The Sabbath idea always involved more than just a day off work. Movies offer us a way toward meaning. So naturally, the academy tends to ignore them. There are, it seems, more important things to do.
Those who study the Bible have to reckon with the fact that someone else probably said it first. This is one of the inherent liabilities of studying something a couple thousand years old. Still, scholars have to keep their jobs, and so they come up with new ways of looking at something ancient. One of my favorite new methods is the use of movies to understand the Good Book. Clearly nobody in ancient times had any ideas about films, let alone stills, but still, they liked to tell stories. They have that in common with modern cinema. Although I’m naturally distrustful of collections of essays—there are so many of them and they are all of mixed quality—I decided to read Close Encounters between Bible and Film: An Interdisciplinary Engagement, edited by Laura Copier and Caroline Vander Stichele. I have to admit that I picked it up with some trepidation, but I was pleasantly surprised in the end.
Like all edited volumes, Close Encounters is uneven. Nevertheless, a fair number of the essays are well done and insightful. The others may be insightful too, but my exile from academe has led to a drop in tolerance for method-heavy essays. They make me think the Bible should mean nothing to anyone but experts, which, if true, is a sad state of affairs for a world that depends on it for salvation. But I digress. The fact is movies quite often draw on similar collections of brain cells as do sacred texts. That’s interesting. Not only that, but flicks show just how deeply embedded the Bible is in western consciousness.
Having read many books on cinema and the Bible, I was pleased at how well this one seemed to flow. At times it’s as if that authors are struggling to find some common ground, but the realization that both sacred text and cinema are part of the cultural sphere suggests that the connections are there. More than that, they suggest that the Bible might still retain some relevance for modern people after all. Hollywood hasn’t lost sight of Holy Writ either. Just a few years back three major biblical epics came out in one season. For me this makes it clear that the stories of antiquity still speak to modern people. They have to be gussied up with CGI and big-name actors, but the underlying tales go back to a day before lights and camera were necessary for action. And we might learn something while our intention is simply to be entertained.