Pamela D. Winfield and Steven Heine We hope to demonstrate the tactile materiality and iconic abundance of the tradition, thereby calling attention to the vast range of “stuff” in Zen.
Tag Archives: visual culture
Religion on Display at the National Museum of African American History and Culture
Judith Weisenfeld Fortunately, visitors will encounter aspects of African-American religious life in unexpected places throughout the exhibits that give a broader sense of the places and people involved in this history.
Staking Monsters: Killing the Racist Trope in Horror and Reality
Kelly J. Baker How do we create monsters? And ultimately, how do we destroy them?
Teaching True Believers
Jolyon Baraka Thomas The religious studies classroom is a strange place. Whether one teaches in a public university or a private one, the subject matter demands that students set aside personal commitments in order to engage with religion both critically and respectfully.
“Cannot tell Aught but the Truth”: Photography and Birth of a Nation (1915)
Rachel McBride Lindsey Through plot device, camera technique, and historical conceit, Griffith’s epic story of the triumph of racially defined and providentially guided national unity out of racially contrived sectional chaos leans heavily on the early history of American photography.
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.