By Steve Nolan
Of their examine of faith and movie, non secular movie analysts have tended to privilege faith. Uniquely, this learn treats the 2 disciplines as real equals, through relating to either liturgy and movie as representational media. Steve Nolan argues that, in every one case, topics establish with a represented 'other' which joins them right into a narrative the place they develop into contributors in an ideological 'reality'. discovering many present ways to spiritual movie research missing, movie, Lacan and the topic of faith explores the movie idea different writers forget about, fairly that blend of psychoanalysis, Marxism and semiotics -- frequently termed display thought -- that makes an attempt to appreciate how cinematic illustration shapes spectator identification. utilizing translations and observation on Lacan now not initially to be had to monitor theorists, Nolan returns to Lacan's contribution to psychoanalytic movie idea and gives a sustained program to spiritual perform, reading numerous 'priest motion pictures' and real-life case learn to show the best way liturgical illustration shapes non secular identification. movie, Lacan and the topic of faith proposes an interpretive process in which non secular movie analysts can enhance the type of research that engages with and reviews either cultural and non secular perform.
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Extra info for Film, Lacan and the Subject of Religion: A Psychoanalytic Approach to Religious Film Analysis
Consequently, he argues that, since the ‘overwhelming evidence’ suggests that film is displacing ‘some of the roles traditionally associated with religious discourse’ (2001, 3), there are strong grounds for reading films in terms of contemporary redemptive activity. I will not discuss here the many problems that are associated with Deacy’s rather confused approach, other than to point out that despite his assertion that noir justifies a religious reading (2001, 91) the real subject of Deacy’s discussion is the idiosyncrasy of his own reading, rather than the film text.
In privileging the cinematic genius and religious sensibility of the auteur May, Kreitzer and others make apparent both their lack of engagement with film theory and the limitations of treating film in terms of literary categories. In short, they exemplify the almost universal failure of the orthodoxy emerging among religious film analysis to engage with any form of film theory, and in particular being entirely closed to the psychoanalytic film theory that I propose can enlighten religious studies’ understanding of how liturgy operates as a representational medium.
By this it is understood that during the Anamnesis, the Eucharistic prayer of remembrance, worshippers participate in ‘the sacrifice of the cross’: a present participation by the faithful in Christ’s historic sacrifice, affected in relation to liturgical representation. Introduction to Part Two 41 The actual nature of such mystical participation may be open to debate. However, I will argue that, as a signifying practice, Eucharistic liturgical representation operates to install worshippers as participants in the ‘reality’ of Episcopal/ecclesial authority.