S. Brent Plate Captain Fantastic has nothing to do with superheroes, or anything “super” for that matter.
Tag Archives: movie
Candomblé Reconsidered: A Sacred Matters Interview
Dianne Stewart In the twenty-first century, increasing populations are becoming aware of the presence of African-heritage religions in the diaspora but we have still much to learn from and about these religions.
Literary Antecedents and Contemporary Reflections of Thomas Dixon’s “The Clansman”
Carolyn M. Jones Medine As The Clansman demonstrates, the Ku Klux Klan was a structure within which white men acted out their vision of southern society and through which they used terror to enforce those visions. The KKK may have been the United States’ first cellular terrorist structure: it was and is covert, local and de-centered, mobile, and opportunistic, multiplying by opportunity and interpersonal connections.
A Dreadful and Improbable Creature: Race, Aesthetics, and the Burdens of Greatness
Judith Weisenfeld The plot of The Birth of a Nation features two intertwined narratives: a political story that moves from national unity to division in war and back to unity, and a romance in which a couple unites despite the obstacles the war presents. The Birth of a Nation is also, of course, a story about the subjugation of people of African descent, a process director D. W. Griffith frames as carried out by honorable white men who had no choice in the face of social chaos.
Cutting up “The Birth of a Nation”
S. Brent Plate Cut up D. W. Griffith’s The Birth of a Nation and it bleeds a little. Rearrange the pieces, as Griffith so expertly cut up film sequences, and put them together in new ways. Splice it into histories, the stories of photography, race, literature, the KKK, bodies, film technique, and it comes out looking different. But it’s gonna bleed. The following articles, are such cuts, such incisive interventions.
Birth of the Klan’s Nation
Kelly J. Baker At midnight on November 25, 1915, seventeen men climbed to the top of Stone Mountain in Georgia with a large wooden cross. On that Thanksgiving night, they lit the cross on fire and pledged allegiance to the U.S. Constitution, American ideals, and “the tenets of the Christian religion. Read More…
Sacred Matters of Coen
Elijah Siegler For years the debate was whether the Coens had any serious background or interest in religion at all. Certainly it was there in their movies—but was religion just one more element in their ironic postmodern mix of genre, American folklore, and popular culture? Religiously minded viewers could have been reading too much into it.
Progressive Priests and Pastors in Recent Popular Media
S. Brent Plate But I am interested in the complexity of human identity, and the ways these complexities allow a variety of practices, beliefs, and behaviors. Simply for the sake of accuracy, it is important to represent diverse channels of human character. Religious identities intersect with sexual, ethnic, racial, gendered, and national identities, and none of these are monolithic. In spite of what we might think based on media representations, not all Christians are conservatives, and not all Christian clergy are narrow-minded, abstaining teetotalers in ignorant servitude to some “Church,” some tradition.
Hell House
Kelly J. Baker I want to go to a Hell House, the evangelical Christian alternative to the ubiquitous haunted houses that pop up every October. I say this almost every year, but I’ve yet to attend one. I’ve only had near misses. When I was in high school in the 1990s, local churches took their youth groups to a Judgement House, the kissing cousin of the Hell House, in Dothan, Alabama. The ride was about 90 minutes round trip, but Judgement House’s message about dangers of the modern world were apparently worth cramming boisterous teens into buses and church vans.
What Pixar’s “Inside Out” Teaches Us About Suffering
Jonathan Orbell When my wife suggested we go out and see Pixar’s newly released Inside Out, I agreed, albeit reluctantly. “I’ll be asleep within 20 minutes,” I thought. Suffice it to say, I’m not really a “kids movie” kind of guy; more of an “old soul.” I was in for one hell of a surprise. Inside Out consists of two parallel storylines. The first, occurring in the “real” world, tells the story of Riley (Kaitlyn Dias), an 11-year-old Minnesotan girl whose family moves out to San Francisco.