Alien Sex: The Body and Desire in Cinema and Theology by Gerard Loughlin

By Gerard Loughlin

Gerard Loughlin is likely one of the best theologians operating on the interface among faith and modern tradition. during this unprecedented paintings, he makes use of cinema and the flicks it exhibits to consider the church and the visions of hope it monitors. It discusses quite a few movies, together with "The Alien Quartet", Christopher Nolan's "Memento", Stanley Kubrick's "2001: an area Odyssey and A Clockwork Orange", Nicolas Roeg's "The guy Who Fell to Earth" and Derek Jarman's "The Garden". It attracts on quite a lot of authors, either old and sleek, non secular and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to Andre Bazin and Leo Bersani. It makes use of cinema to contemplate the church as an ecclesiacinema, and flicks to consider sexual wish as erotic dispossession, as a manner into the lifetime of God. it really is written from a appreciably orthodox Christian point of view, right away either Catholic and critical.

Show description

Read Online or Download Alien Sex: The Body and Desire in Cinema and Theology PDF

Similar film books

A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)

A better half to Michael Haneke is a definitive selection of newly-commissioned paintings that covers Haneke’s physique of labor in its entirety, catering to scholars and students of Haneke at a time while curiosity within the director and his paintings is soaring.

Introduces probably the most very important administrators to have emerged at the international cinema scene some time past fifteen years.

Caters to scholars and students of Haneke at a time whilst curiosity within the director and his paintings is soaring.

Includes unique interviews with Michael Haneke, together with an interview dialogue of his most up-to-date movie, The White Ribbon.

Considers topics, themes, and matters that experience shaped the nucleus of the director’s life’s paintings: the destiny of ecu cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance.

Features severe examinations of l. a. Pianiste, Time of the Wolf, 3 Paths to the Lake and Caché, among others.

*************************
Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

Part I serious and Topical techniques to Haneke’s Cinema.

1 Performative Self-Contradictions: Michael Haneke’s brain video games (Thomas Elsaesser).

2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).

3 Infectious photographs: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and picture (Vinzenz Hediger).

4 monitoring Code Unknown (Tom Conley).

5 Michael Haneke and the hot Subjectivity: structure and movie (Peter Eisenman).

6 video games Haneke performs: fact and function (Brigitte Peucker).

7 Figures of Disgust (Christa Blümlinger).

8 with out tune: On Caché (Michel Chion).

9 struggling with the Melodramatic situation: Haneke’s Polemics (Jörg Metelmann).

10 “Mourning for the Gods who've Died”: The function of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).

Part II the tv Films.

11 A depression hard work of affection, or movie version as Translation: 3 Paths to the Lake (Fatima Naqvi)

12 Michael Haneke and the tv Years: A interpreting of Lemmings (Peter Brunette).

13 diversifications on issues: Spheres and area in Haneke’s version (Monica Filimon and Fatima Naqvi).

14 Projecting hope, Rewriting Cinematic reminiscence: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).

15 (Don’t) glance Now: Hallucinatory artwork heritage in Who used to be Edgar Allan? (Janelle Blankenship).

16 forms and visible type (Brian Price).

Part III The German-Language Theatrical Features.

17 constructions of Glaciation: Gaze, standpoint, and Gestus within the movies of Michael Haneke (Georg Seeßlen).

18 The Void on the middle of items: Figures of identification in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).

19 how one can Do issues with Violences (Eugenie Brinkema).

20 among Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).

21 Hollywood Endgames (Leland Monk).

Part IV The French-Language Theatrical Features.

22 category clash and concrete Public house: Haneke and Mass Transit (Barton Byg).

23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).

24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché (Kevin L. Stoehr).

25 The Unknown Piano instructor (Charles Warren).

26 Discordant wants, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).

27 Civilization’s unending Shadow: Haneke’s Time of the Wolf (Evan Torner).

28 The Intertextual and Discursive Origins of Terror in Michael Haneke’s Caché (T. Jefferson Kline).

Part V Michael Haneke Speaks.

29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).

30 Violence and the Media (Michael Haneke).

31 the area that's identified: An Interview with Michael Haneke (Christopher Sharrett).

32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

Filmography.

Index.

*****************************************
Bookmarked and searchable. Black and white images

Thanks to dubjazz @ KG for description and add.

Bram Stoker's Dracula: Sucking Through the Century, 1897-1997

In 1897, Archibald Constable & corporation released a unique by way of the unheralded Bram Stoker. That novel, Dracula, has long past directly to develop into might be the main influential novel of all time. To commemorate the centennial of that fab novel, Carol Margaret Davison has introduced jointly this number of essays by means of the various world's prime students. The essays examine Stoker's unique novel and have fun its legacy in pop culture. the ongoing presence of Dracula and vampire fiction and flicks offers facts that, as Davison writes, Dracula is "alive and sucking. "

"Dracula is a Gothic mandala, an unlimited layout within which a number of reflections of the weather of the style are configured in stylish units of symmetries. it's also a type of lens, bringing concentration and compression to various Gothic motifs, together with not just vampirism yet insanity, the evening, spoiled innocence, affliction in nature, sacrilege, cannibalism, necrophilia, psychic projection, the succubus, the incubus, the break, and the tomb. amassing up and unifying all that got here sooner than it, and casting its nice shadow over all that got here and maintains to return after, its impact on twentieth-century Gothic fiction and picture is exclusive and impossible to resist. "

-from the Preface through Patrick McGrath

Hope for Film: From the Frontline of the Independent Cinema Revolutions

An inspiring, tell-all examine the indie movie enterprise from one of many industry’s such a lot passionate manufacturers, desire for movie captures the rebellious punk spirit of the indie movie growth in Nineties ny urban, its cave in twenty years later and its present second of technology-fueled regeneration.

Die Dramatisierung von Innenwelten im Film

Das Buch beantwortet, woher ein Zuschauer wissen kann, wie sich eine Figur im movie fühlt, was once sie denkt und used to be in ihrem Innersten vorgeht. Dabei wird zunächst beschrieben, welche Mechanismen wirken, wenn wir in unserem Alltag Menschen einschätzen, ihre Mimik interpretieren oder Empathie empfinden. Wirken im movie die selben Mechanismen?

Extra info for Alien Sex: The Body and Desire in Cinema and Theology

Example text

Thus Henry Peschke tells us that the ‘male is more active and outgoing; he possesses greater courage to assail. The female is more receptive and protective; she shows greater fortitude to endure . . The logic of facts and keen penetration are characteristic of the man; the ASC01 09/10/2003 03:37 PM Page 25 Desiring Bodies 20 21 22 23 24 25 26 27 28 29 30 31 25 woman is more led by emotion, sensitivity and intuition. H. Peschke, Christian Ethics [Dublin: Goodliffe Neale, 1978], vol. 2, p. 377; quoted in Moore, Body in Context, p.

59. See further below, chapter 5 (God’s Sex). Levinas, Time and the Other, p. 94. Galen quoted in Peter Brown, The Body and Society: Men, Women and Sexual Renunciation in Early Christianity (London: Faber & Faber, 1988), p. 33. Brown, Body and Society, p. 31. Brown, Body and Society, p. 230. Evagrius Ponticus (346–99) departed Constantinople for the Nitrian desert, between Alexandria and Cairo. His writings, particularly his treatise on prayer, influenced later ascetic theologians, such as John Cassian (c.

Levinas rejects this myth of sexual union as the fusion of complements, for that which complements yourself, that which fills up your lack of self and returns you to yourself, is not other than yourself. There is no going outside of yourself, no meeting with another, but only more of yourself: an engorged solipsism. 19 Those who seek for their complement – always heterosexual (androgynous) in the prevailing Christian rendition, but also homosexual (male and female) in the original Platonic joke – seek for that which they can grasp and hold, but which they can never really receive as different from themselves, as the appearing of the Other in flesh.

Download PDF sample

Rated 4.28 of 5 – based on 40 votes