Just finished reading God in the Movies by Andrew Greeley and Alan Bergensen. There are two reasons why I wanted to read this book. The first was really Alan Bergensen, I read his Depth of Shallow Culture last Christmas, because I found the back of the book interesting and because he is a sociologist at my Alma Mater. In about the author it mentioned that he had co-written God in the Movies with Andrew Greeley. I knew I had to read it.
My first encounter with Andrew Greeley was at Borders (an American bookstore chain), when I was looking for "new" books and I saw a novel with a priest on the cover. I'm a sucker for any religion related literature so I picked up the book read the back (forgot what it is about not really important) and I read about the author, Andrew Greeley. Turns out he is a Catholic priest... and a sociologist... at the University of Arizona AND the University of Chicago. He teaches, does research (after some digging it turns out he's done TONS of research and is a HUGE name within American sociology and the sociology of religion subfield), writes novels and academic books... he became my hero right off the bat. Then I actually read some of his research in some of my sociology classes and since I was attending vocational retreats I heard his name get thrown around in those circles at well. It was funny to see that in the "conservative" religious circles he's seen as too much of a trouble making liberal and in the academic circles he's seen as a cool "progressive" LOL
ANYWAY, as for the book. The authors argue that humans are a storytelling creature and that religion ultimately comes down to the retelling of stories that are considered sacred. They contend that movies are by far the mode of choice for storytelling today and that it shouldn't surprise us to find God in those stories. They pick several movies that highlight different things about how people (because while art is an individual expression it is still a reflection of the collective consciousness) see or want to see god as, because movies and ultimately art is nothing more than a Metaphor. It tells us what God is like, not what God is. For example in All that Jazz God is played by Jessica Lange, a sexy, flirting woman that eventually invites Joe into a separate room clearly to make love. in Alwaysp Audry Hepburn plays a warm, understanding and gentle god. In Oh, God it is a peppy old man and in Jacob's Ladder it's a chiropractor.... Whether god is played by a woman, a man, young or old, he is always caring, understanding and while firm, ultimately loving and forgiving. Greeley says that his students have a hard time accepting Audrey Hepburn and Jessica Lange as a metaphor for God. First of all because they are women and most importantly ATTRACTIVE women. Well why shouldn't God be a woman? After all He/She (he refers to God as "She" by the way) is eternal, everything and nothing, begging and end, hence man AND woman. Also why shouldn't god by a flirtatious woman? God is love and God loves us and yearns for us and wants us to be with Him/Her... why can't that union be represented in the act of making love?
They also deal with the possibilities of the after life like in Flatliners (a favorite film of mine, I'm glad they included it), where forgiveness is the key to peace regardless of an afterlife or more precisely, more powerful than the afterlife itself. As the medical students kill themselves and are revived to tell their friends about the afterlife, they find themselves haunted by their sins of the past and one by one (except one character) figures out that they must seek the forgiveness of those they have transgressed, only to find they have already been forgiven, but their acknowledgment of such a need, and the reassurance of those that forgave them (even those already dead)gives them peace.
They end the book with a small piece on the evolution of storytelling and its possible future. They say that each new form of storytelling is taken to its ultimate expression by the new dominant power. It is no coincidence that the novel found it's truest expression and it's greatest proponents and examples in Europe, specifically France, just like it was no coincidence that movies found their ultimate expression in the United States, as the power shifted from Europe to North America so did this new form of storytelling evolve to it's fullest.
Europe also has cinema, but it is stuck in the realism of the novel/play form. It tells of personal dramas and realities, while in the U.S you find Star Wars, the Matrix and of course God in the movies. It was Hollywood that employed the magic of cinema to it's fullest, but it has reached it's limitation. While CGI is becoming very prevalent for the most part it movies still are half and half, half live action and half CGI, like Jurassic Park, Star Wars, Resident Evil, etc. Fully CGI movies like Final Fantasy are not as readily accepted. However, with a new shift in power to East Asia, we begin to find a new mode of storytelling, Japanimation (Animie) Ghost in a Shell was the first Animie movie released world wide in 1996 to great reception. Animie is different from say... Disney animation in that it's range is much more vast. It has better writing, deals with a wider variety of subjects including extemely violent, sexual and of course philosophical and religious. Like Ghost in a Shell (which includes all the above elements) about a computer program that gains conciousness and wishes to merge with a Cyborg woman. This computer program was born of the internet the ultimate and infinite source of information (The Word) which yearns to become flesh (Jesus). So we have seen god potrayed as a man, a (sexy) woman and now as pure information... Animie is a wider creative canvas than the movies because whatever you imagine can be drawn and brought to life while live action has it's limitations, just like the novel has it's limitations.... Great Book and while easy to read, VERY thought provoking.