Showing posts with label faith narrative. Show all posts
Showing posts with label faith narrative. Show all posts

Saturday, August 8, 2026

Angels & Demons

Although a sequel to The Da Vinci Code (2006) and also directed by Ron Howard and written in part by Dan Brown, Angels & Demons (2009) stands on its own as a narrative and thus as a film in its own right. Although the relationship between science and religion undergirds the film’s dramatic tension, the more fundamental leitmotif running throughout the film is the sheer ambiguity involved in whether a given character is more like an angel or a demon. An implication is that we mere mortals should not presume to judge the religiosity of other mortals; that’s God’s job, for we so lack the divine attributes of omniscience and omnipotence.


The full essay is at "Angels & Demons."

Sunday, February 23, 2025

Christian Devotionalism in Film

Brian De Palma’s film, Obsession (1976), harkens back to Hitchcock’s film, Vertigo (1958) primarily in that resemblances between a character-contrived myth, or story, and the closely related, though different in key respects, social reality in the film (i.e., what’s really going on in the film’s story-world) trigger perplexed reactions for the character being duped by other characters in the film. I thought she died, but there she is . . . or maybe that’s another woman who looks like her—so much so that I believe I can will the woman to be her. The human mind may be such that it convinces itself of even a supernatural explanation than admit that one’s own mind has been fooled by someone else’s cleverness. At the very least, resonances between the impossible and the possible can increase the uncertainty of the beholder. Doubt as to what is really going on can be stultifying, and the human mind is all too willing to fill in the gap by either resorting to a supernatural explanation or making something so as if believing it to be so is sufficient to render it really the case.


The full essay is at "Obsession."

Saturday, August 17, 2024

The Holy Grail: Artifact or Superstition?

Relics are nothing new to religion, whose legitimacy used to be synonymous with being ancient, which is one reason why the ancient Romans did not consider the nascent Jesus Movement to be a religion. The cup that Jesus uses in the Last Supper in Gospels is right up there with pieces of the wood cross of the Crucifixion as the most holy of relics in Christianity. “In Europe alone, there are said to be around 200 cups, each thought to be the Holy Grail—the cup used by Jesus Christ at the Last Supper.”[1] They can’t all be THE cup, but I bet if you visited each place, the partisans would insist that their cup is genuine. For example, the website of the cathedral at Valencia, in eastern Spain, proclaims regarding the cup there, “Tradition reveals that it is the same cup that the Lord used at the Last Supper for the Institution of the Eucharist.”[2] Never mind that medieval legend had it that Joseph of Arimathea had brought the Holy Grail near Glastonbury Tor in southern England shortly after Jesus’ death. That would be quite a distance to travel back them to deliver a cup. These two cannot both be right, yet Christians have prayed in both places as if the cup in each place were genuine. That people have gotten carried away with the super relic through history seems clear from “the fact that, over the centuries, legends have arisen of ‘grails’ producing miracles.”[3] That miracles have been said to arise from more than one of the cups ought to be a red flag that something is amiss, for only one cup could possibly be genuine and so miracles could not have come by means of proximity to the other cups. I submit that basic category mistakes regarding genres of meaning (and writing) are a big part of the problem as to why a presumed historical artifact has given rise to puerile superstition in the name of religious truth.

One scholar of religious studies, Joanne Pierce, is realistic in saying, “I honestly do not think that the actual cup from the Last Supper still exists.”[4] In fact, Pierce elaborates that because according to some Gospel accounts, the room was already prepared before Jesus and his disciples arrived, the cup used may not have even belonged to them. I submit that Pierce is conflating historical accounts and faith narratives—two very different, albeit related—genres of writing. That some of the Gospels have the room already prepared is itself an indication that we should not assume that the room actually was prepared beforehand.

Moreover, a faith narrative is not written as a historical account; the concerns of the writers would have been theological rather than to make empirical reports or accounts, especially as the Gospels were written many decades after the Crucifixion. Is it really likely that, for theological purposes, a detail such as how or whether the room was prepared would have been preserved in notes or orally? Pierce gets around this problem by stating that “the idea of the Holy Grail is more symbolic than realistic—in her words, ‘a cultural reality rather than a religious reality.’”[5] We are no longer concerned with the relationship of empirical history and faith narrative; the idea of the cup is what matters, and that isn’t even religious.

I think Pierce is wrong to jettison the religious meaning of the cup, even as an idea, because of the salvific significance at least in Roman Catholicism of the Eucharist in the gradual process of sanctification. Given the theological doctrine of transubstantiation—the real presence of Christ in bread and wine transformed into the body and blood of Christ—in Catholicism, it is interesting that, “(f)or Pierce, a Catholic, the idea of the Holy Grail is more symbolic than realistic.”[6] Zwingli, the Swiss reformer for whom the Eucharist is only symbolic, would be more likely than the Pope to agree.

Essentially, my argument is that faith narratives are neither historical accounts nor just cultural ideas; rather, the distinctive meaning in a faith narrative such as one of the Gospels is religious. It is felt proximity to religious meaning that is important—not whether a given cup was actually used by Jesus in a historical or empirical sense. To conflate the religious and empirical is to engage in superstition, as evinced by the attribution of miracles from Jesus’ historical use of a cup. Put another way, the religious significance of the Last Supper, which is Jesus being willing to follow his Father’s will in sacrificing his life for humanity, does not come down to the trite contention of which cup Jesus actually used. “It was just a cup,” Jesus might say; “You’re missing the point.” In other words, too much attention to the means can obstruct the ends being served by the means. 

Regarding the famous cup, the distinction between artifact and superstition can be transcended, perhaps even in a Hegelian sense of solving dialectics through human history, by focusing instead on distinctly religious meaning. In other words, perhaps superstition results from mistaking historical artifact for religious truth. This is not to say that the latter cannot come through history; only that if or when the transcendent does manifest on the surface of history, a faith narrative still cannot be taken for a historical account. To focus on the historical as if it were the point would be to miss the distinctly religious point, for the validity of religious meaning does not depend on the criteria of any other domain.


1 Julia Buckley, “They All Say They’ve Got the Holy Grail. So Who’s Right?” CNN.com, August 17, 2024.
2. Ibid.
3. Ibid.
4. Ibid.
5. Ibid.
6. Ibid.

Wednesday, January 24, 2024

The Devil’s Arithmetic

The Devil’s Arithmetic (1999) can be classified superficially as a coming-of-age film, for Hanna, the protagonist, starts out being immaturely contemptuous of her family’s ethnic and religious heritage and current practice. She tries to skip the Passover Seder at her grandparents’ house. That her aunt Eva had been a prisoner at a Nazi death camp makes no difference to Hanna—that is, until she is transported back as her aunt’s cousin (for whom Hanna was named) and experiences the camp herself. Whether she is really transported back in time (and if so, how?) or is merely dreaming is answered in the end but not so blatantly as would insult the viewers’ intelligence. Then again, it’s not every film that has allusions both to theology and The Wizard of Oz. The different ways in which that movie is incorporated and alluded to in this film are actually quite sophisticated in extending the viewers’ sense of synchronicity beyond the film’s narrative.


The full essay is at "The Devil's Arithmetic."

Thursday, August 24, 2023

Fatima: The Miracle of the Sun

The film, Fatima (2020), tells the story of the three Roman Catholic children in Fatima, Portugal, who in 2017 claimed to see and hear the Virgin Mary periodically over a period of 6 months. The film centers around Lucia, the oldest of the three children, and, moreover, the question of whether the children really encounter the Virgin, or are lying, hypnotic, or even psychotic. In the film, as well as in “real life,” a miracle is associated with the last visitation. In the story world of the film, the visitation really happens, and the multitudes watching the children come to believe this when the Virgin delivers on a miracle as promised. Historically, believers as well as nonbelievers who were present at the event have testified that the Sun moved around in the sky and even came closer. If this really happened as witnesses have described, then the empirical “proof” in the story world of the film is not the whole story, and the religious truth therein is not limited to the faith narrative, but holds in an empirical, supernatural sense. An implication is that Jesus not only resurrects in the Gospel stories, but also as an empirical event in history. But, then, why have such supernatural events been so rare since the “time” of Jesus?  And, yet, witnesses as far as 40 km away from the visitation of the Virgin reported seeing the miracle of the Sun.

The full essay is at: "Fatima"


Monday, June 1, 2020

The Case for Christ: On the Problem of Extracting History from Faith Narratives

A film narrative oriented to an investigation of Christianity is tailor-made to illustrate the potential of film as a medium to convey abstract ideas and theories. In The Case for Christ (2017), a skeptical journalist—Lee Strobel—takes on the contention that Jesus’ resurrection in the Gospels was also a historical event (i.e., happened historically). Lee states the proposition that he will investigate as follows: “The entire Christian faith hinges on the resurrection of Jesus. If it didn’t happen, it’s a house of cards. He’s reduced to a misunderstood rabbi at best; at worst, he was a lunatic who was martyred.” The journalist’s initial position is that the resurrection didn’t happen historically; it is just part of a faith narrative (i.e., the Gospels). Lee wants to test the proposition by interviewing experts. The dialogues between the journalist unschooled in theology and the scholars of religion provide a way in which complex ideas and arguments can be broken down for the viewer and digested. The journalist stands as a translator of sorts similar to a teacher’s function in breaking down knowledge new to students so they can grasp and digest it.

The full essay is at "Case for Christ."


Tuesday, April 7, 2020

Undermining Progress: Power as Ignorance that Cannot Be Wrong

Bleeding to heal. The Earth is flat. Earth is at the center of the solar system. Zeus lives on Mount Olympus. The divine right of kings to act even as tyrants (e.g., Henry VIII of England). Hitler died in his bunker. Turning the heater on in a local bus kills coronavirus. These are things that were thought in their respective times to be uncontrovertibly true. In some of these cases, the power of the establishment was not subtle in enforcing them even when they should have been questioned. How presumptuous this finite, mortal species is! If ignorance on stilts is bliss, then why is it such in need of power? Subconsciously, the human mind must realize that its assumption of not being able to be wrong is flawed. We are subjective beings with instinctual urges—one of which manifests in the unquestioned assumption that what we know cannot be wrong, and furthermore that we are entitled to impose our “facts” on others. As the homo sapiens (i.e., wise) species, we are too sure, and too proud, concerning our knowledge and especially beliefs. We would like to have the certainty and objectivity that computers have, but we are subjective biological animals, not inert machines. 

The full essay is at "Undermining Progress."

Saturday, February 15, 2020

The Basis of Christian Faith: Beyond Idolatry

I think perhaps the title of the film, Silence (2016) ought to have been “The last Priest” because the main character, Rodrigues, is the last remaining Roman Catholic priest in Japan. His inner struggle is the core of the narrative, and of the theological/ethical dilemma to be resolved. The movie is set in Japan in 1640-1641. A Buddhist inquisitor, Mokichi, is torturing and killing Christians, who must step on a stove carving of Jesus as proof of committing apostasy (i.e., renouncing their faith). Taking it as proof, Father Rodrigues torments over whether to apostasy in order to save the Japanese Christians whom Mokichi is having killed serially until the priest renounces his faith. I submit that the assumption of proof rests on dubious grounds, so Rodrigues is actually faced with a false dichotomy.

The full essay is at "Silence."


Sunday, February 2, 2020

Can the Medium of Film Surpass the Bible in Biblical Storytelling?

For anyone interested in filmmaking, a film that features the internal operations of a film studio—especially one during the “Golden Age” of Hollywood (i.e., the 1940s and 1950s)—is likely to be captivating. After all, as Eddie Mannix, the studio executive in Hail, Caesar! (2016), says, the “vast masses of humanity look to pictures for information and uplift and, yes, entertainment.” This film provides all three for its audience in terms of filmmaking and the studio system. The film could have provided the three in terms of Christian theology too, but the treatment is hurried and thus difficult to digest, with the exception of Baird Whitlock’s emotional speech on a studio set as the Crucifixion scene is being filmed within the film. Eddie Manix’s meeting with a rabbi, Catholic priest, Greek Orthodox priest, and Protestant minister is flooded with fast-moving theological points, and is unfortunately of little use to the viewers of Hail, Caesar!  This is interesting because the scene’s role in the film’s narrative is to make the point that Capital Studio’s management takes seriously the informational role the film being shot in the film.

The full essay is at "Hail, Caesar!"


Tuesday, December 11, 2018

The Young Messiah: A Film Rendering Religious Meaning as Distinct

The 2016 film, The Young Messiah, admits to being an imagined year in Jesus’s childhood. To be sure, history and even Biblical passages are drawn on, but the genre of the film is fiction. This label seems too harsh, for Josephus, an ancient Jewish historian, mentions Jesus, “the so-called Christ, and his brother James." Josephus was not a believer; he did not believe that Jesus Christ was (or is) the Son of God. So, given Josephus's intent to record history rather than write scriptures or, more specifically, faith narratives, scholars can conclude that at least one historical mention is made of Jesus and his brother as having lived. To be sure, the historian could have been wrong; he may have heard secondhand that Jesus and James did exist, and the teller might have had an agenda unknown to the historian. Even so, Jesus and James are mentioned in one historical account, just as the Hebrews having been in Egypt is mentioned on a historical tablet. We must be careful to distinguish these records from that which is in faith narratives concerning Jesus and Moses. We simply do not know whether that material has any bearing on the historical, as no historical accounts are (as of yet) extant. 
Very little from Jesus's childhood is in the Gospels, so the screenwriter had to use imagination to fill out the gaping holes. Crucially, they were filled with content consistent with, though not in, the Gospels. In other words, the film contains religious meanfulness that is admittedly from imagination in large part, and yet that meaningfulness is strong even so, and can be readily associated with Jesus's ministry. In other words, the film enables the viewer to see that religious meaningfulness need not be from faith narratives directly, and, furthermore, that they need not be conflated with historical accounts--something even the writers of faith and of history would not have done. How, then, can we override their intents, which are clear from their writings. Even today, theologians, for instance, do not regard themselves as historians, and vice versa.
In short, a distinctive religious meaningfulness can be separated from the domain of history without any loss, and history need not be used as a crutch. Human imagine, so informed as it will by both, can produce valid religious meaning. 


The full essay is at "The Young Messiah." 

Thursday, November 29, 2018

Risen

In Risen (2016), A Roman Tribune, Clavius, is tasked with overseeing Jesus’s crucifixion; more importantly, Pilote tasks his Tribune with making sure that no one steals the body out of the tomb so no one could claim that Jesus is arisen. This would put the Jesus movement within Judaism as much more of a threat to Pilote as well as the Jewish leaders. More than Christians can glean interesting lessons from the film. That is to say, it is by no means a remake of The Greatest Story Ever Told and Son of God.
The full essay is at "Risen."






Sunday, November 23, 2014

Heaven Is For Real: Applying Kierkegaard to a Film

In Heaven Is For Real (2014), a film based on Todd Burpo’s best-selling non-fiction book of the same title, the evangelical Christian minister becomes convinced that his son, Colton, actually visited heaven while in surgery. Todd cannot make his faith-held belief intelligible to even his wife, Sonja. She misunderstands her husband and questions his obsession and even his sanity until Colton tells her something about heaven that applies to her uniquely. Then both parents are uniquely related in an absolute way through faith to the absolute—to the absurd, in Kierkegaard’s parlance. How Todd deals with his realization can be unpacked by applying the work of the nineteenth-century European philosopher, Soren Kierkegaard.


The full essay is at “Heaven Is For Real”

Saturday, June 14, 2014

The Eucharist as Transcendent Experience

Taking a swipe at a core tenet of Catholicism, Bill Keller of the New York Times writes, “Every faith has its baggage, and every faith holds beliefs that will seem bizarre to outsiders. I grew up believing that a priest could turn a bread wafer into the actual flesh of Christ.” I contend that the editor’s characterization of consecration represents a misunderstanding of the Eucharist. Such misunderstandings have been worse; in the early years of the Church, some pagans were under the impression that the Christians were meeting on Sundays to eat babies. Indeed, phrases such as “eat my body” may in fact be inherently prone to being misunderstood.

Generally speaking, religion may have a tendency to flirt with the literal, or empirical, even at the expense of that which is distinctly religious in nature. Hence Keller’s point that every institutional religion has baggage may be correct even if his interpretation of the Eucharist is erroneous. It should be of no surprise that religion is hardly immune to the vaunted pretentions of the human mind even to that which is beyond the limits of its cognition and perception. Under the circumstances, we would be well-advised to be relatively circumspect in how firmly we impose our religious beliefs as if they were established knowledge.

Regarding the Eucharist, Keller’s use of “actual flesh” is misleading, for both actual and flesh point to an empirical basis or connotation. When we moderns typically say actual, we mean that something actually exists, which is to say that it is the case empirically in the world in which we live (i.e., based in the human domain). Keller’s use of flesh confirms his usage of actual, for flesh is indeed found descriptively in the world, as in, The wolf ate the lamb’s flesh. In German, the word for meat is Fleisch. To be blunt, a priest does not turn a wafer into meat. I’m not sure whether changing something from one food group to another would constitute a miracle anyway. This allusion to food groups is apt, for my approach stresses the utility of delimiting categories. I assume that the various realms, such empirical, metaphysical, and theological, are qualitatively different and distinct.

I contend that the Eucharist involves the application of a theological concept through social contract as pertaining to an empirical object. This is not to say that the empirical realm is that of theology.  Van Rad makes this point in his text, History of Israel. A faith narrative, such as the covenantal relationship between Jehovah and the Hebrews is not comprised of bare historical facts, even if Biblical allusions to history are used for theological purposes and given a theological meaning. The meaning gleaned from the faith narrative does not establish or confirm historical facts. Nor are theological meanings scientific concepts; the two domains are distinct, and thus have their own respective criteria. Whereas history and science are confined within the empirical domain, which is in principle within the limits of human cognition and perception, theological meaning is transcendent in nature, meaning that our ideas and sensual impressions fail inherently to go the distance with respect to religion.

Neither is theology essentially metaphysics, for otherwise, religion would be none other than philosophy. Put another way, meaning is not reality itself. People who characterize the Trinity as real are making a metaphysical rather than a religious claim. The latter has to do with the unfathomable mystery behind the notion of a triune god, rather than any metaphysical claim that the three persons exist in reality itself. Put another way, if God is the condition or source of existence, then God cannot be existence itself—much less some empirical object existing. Neither does God as conceived theologically reduce to Kant’s “things in themselves.” God is not “the Real.” Yet neither is the transcendent limited to Kant’s phenomenal realm of appearances. Religious meaning is of its own, distinct, realm—yet how elusive it must truly be, for all the rush to cover it over with leaves from other fields. If I am indeed on to something here, we would hardly recognize the distinctly religious terrain for all we have interlarded on top of it. Put another way, our theological gardens tend to end up looking a lot like ourselves.

In terms of the Eucharist, Catholics maintain that the body and blood of Christ are really present theologically under the empirical “species” of bread and wine. In Catholicism, the real presence is a theological concept called transubstantiation. That it is applied to empirical objects—bread and wine—does not mean that the religious meaning is empirical in nature. The religious term refers to another theological concept—that of resurrected body—rather than to the empirical concept of “actual flesh.”

In a nutshell, Bill Keller has Jesus’ earthly body rather than his resurrected body in mind. To think of a resurrected body on the basis of a physical body is to reduce theology to physiology or biology. The resurrected Jesus walking through a door and asking for something to eat anticipates the tendency to liken what we don’t understand to things that are familiar. Theological meaning is distinct, rather than reducing to any of the empirical sciences, yet for centuries Christians insisted on being buried so their physical bones would be available to be resurrected.

Augustine writes that the relation between the Father and the Son should not be thought of in terms of the relationship between dads and sons. By implication, the Son as a theological concept is qualitatively different—meaning not just in degree—from what we know of what it means to be a son from our observations of sons in our midst. Christians forget Jesus’s reminder, “no one knows the Son except the Father” (Mt 11:27). It is all too natural to reduce begotten to made by clothing the transcendent in familiar clothes.

Resurrected body does not apply empirically; rather, it is a theological meaning that is situated in a faith narrative rather than a historical account. This is the point that Keller so vitally misses in his essay. The real presence of Christ in the Eucharist is not actual flesh. Nor is the real presence metaphysical in nature. The empirical species of bread and wine as like posts around which the Catholic believer can swing around, as it were, in the transition from the empirical realm of the everyday to a distinctly transcendental experience that transcends even the posts themselves. A major pitfall to watch out for is slighting the experience in favor of holding onto the posts. There is even a risk that some of the unsatisfied religious meaning gets transferred onto the empirical signs themselves, thus making them into idols without realizing it. The mistaken assumption is then that a sustained, intense focus on the empirical objects enhances rather than takes away from religious experience. In actuality, the religious domain, which is inherently transcendental, has been confiscated with more familiar experience within the limits of human cognition and perception. All the while, the Kingdom of God is within, as though smiling at these artificial edifices we create to edify and bemuse ourselves.

I contend that the bottom line on the real presence is the theologically-felt experience of transformation or sanctification that can be induced by applying the theological concept to the bread and wine via ritual. The religious experience is not exhausted by the symbols on the surface; religionists merely use them, and the associated ritual, as prep. Crassly put, they put people in the mood. Sustained, concentrated transcending as an experience that is really present (though not reality!) does not just happen after a person steps into a church from a busy day, hence the rites and posts to follow along the way. The point is the experience, felt as really present (and thus eternal rather than of time and space)—the artifices along the way are just so, rather than religious objects to be held as though they were ends in themselves, which is to say, idols.

Source:

Bill Keller, “Asking Candidates Tougher Questions About Faith,” New York Times, August 25, 2011.