so i watched Fireproof... and i was surprised! i liked it! but i feel there is an itch that i gotta scratch and i can't figure out what it is.
Fireproof is a small budget movie that looks like it's made-for-TV, but it does have some good writing and decent acting. It stars Kirk Cameron and Erin Bethea as a couple whose marriage is on the verge of implosion. now i was very hesitant because of Kirk's fundie theology and his "Way of the Master" website. but since Anglican Gurl asked, and it seems to be a very popular movie in some Christian circles, i figured i should check it out.
since this is a low-budget movie, some characters are 2D (like the mom and the wife) while others are stereotypes (like the black nurses and their "mmmmm hhhmmmm"). but overall it's a good story without getting too preachy. it's a movie that affirms marriage, and i gotta think that there are many out there that will benefit from seeing this movie.
i wonder at the born-again message and whether divorce can ever be justified. the one dude who did go through a divorce was only married a year and "it was before i was a Christian." so what about those ppl who struggle years through a marriage, attend church every day, and STILL get divorced? it seems that incompatability is not part of God's plan.
maybe that's what i need to scratch. this movie is throughly middle-class materialistic. Kirk is after a boat that he wants and looks at internet porn. there is no struggle to put food on the table, no addictions, no abuse, just apathy in the relationship. it is hard feeling for this childless couple in their huge, well-decorated house, driving their brand new cars. of course, material possessions need to be questioned and Kirk does give up his boat... only to buy MORE expensive (albeit needed) stuff for his wife's parents. so the importance of material goods are never questioned. in fact, it's the STUFF that ultimately reunites the couple, no transcendence or spirituality needed.
so i wonder what this movie would have looked like if you introduce poverty, abuse, adultery, addiction, children, unstable and unsupportive family systems, or if the couple were already church goers... but that's not how the story goes, so i guess it's a moot point. but it does make me wonder whether or not there is room for those things in this movie's theological framework.
one thing i really did like was that it was Kirk that had to change. in many of the failed relationships that i know, the woman is the first (and sometimes only) one to seek change and reconciliation, often to the detriment of her needs. she tries to give the husband what he asks for, and when she does, the husband just wants more. i think of my own mom and grandmother here and how they sought change and reconciliation. but the change didn't need to come from them and any demands they strove to meet weren't the problem in the first place. it was the man who needed to change and reconcile. i really liked that part and hopefully this movie will drive that same point home to men that if they want to see change in their marriage, they must sometimes BE the change (to paraphrase Gandhi).
i also love how Kirk learns how self-sacrificial love is. and how it solves a lot of problems, that sort of servant-leadership and self-sacrificing love which is all over the Gospels and well used by the likes of Gandhi and Martin Luther King Jr, as well as many others.that was pretty tight.
the theology framework in the movie is pretty solid. the dad is probably the weakest actor, but delivers all the theological lines, which were mostly the evangelical "thou aren't doing right, thou shalt be smited" by the angry God. there is a holistic reconciliation with the family. first Kirk reconciles with his wife and then with his mother who he has treated like crap the whole movie. it was pretty touching and inclusive, and i really enjoyed that and think it was a brilliant addition to the film.
this is a good film, albeit a light one. i know there are those out there who can really benefit from this film. and while i enjoyed it, i feel it just reinforced what we're doing already in our relationship. i really liked the idea that "when a man dates a woman, he studies her and gets to know her interests. when they marry, he usually stops. he should continue on. think of your dating as earning your high school degree. you should continue on and get an associate's, bachelor's, master's, all the way up to a PhD." this is a great metaphor.
Barry Taylor (Entertainment Theology: New-Edge Spirituality in a Digital Democracy. Grand Rapids Michigan: Baker Academic, 2008.) holds Fight Club up as a prime example as what it means to be Postmodern Gothic. There is a transgressive nature in the mindset of the Gothic and the dominant message is “learn to live with mystery” and this is accomplished by sharpening one’s instincts (Taylor 142). So then the Gothic radically embraces passion, learning how emotions like fear, terror, horror, and sadness (as well as the more fiery passions of anger and rage) are means by which people learn to fight back. Fight Club does this to help people liberate themselves from a system that is draining the life away from their souls and keeping them from forming a true community. They find a new code of living through being shocked out of their old ways of doing things. They are able to “come to terms with the world around them through a renewed sense of self through their commitment to a new code of living” (Taylor 143).
For Tyler, dominant ideologies and cultural values exist to be subverted. The means of constructing identity is based on communal relationships, particularly with men although Marla becomes a bigger role as the film goes on, instead of material capitalistic measures.
Tyler does not turn to religion, although the language is frequently used in the film. The Narrator talks about the feeling of Fight Club as being in a Pentecostal church. The grunts were like speaking in tongues and the fights were like dancing. The Narrator seeks a nirvana, however; not salvation first and foremost. “And then, something happened. I let go. Lost in oblivion. Dark and silent and complete. I found freedom. Losing all hope was freedom.”
Even more overt is the scene where Tyler seems to declare that he is an agnostic:
Tyler Durden: Shut up! Our fathers were our models for God. If our fathers bailed, what does that tell you about God? Narrator: No, no, I... don't... Tyler Durden: Listen to me! You have to consider the possibility that God does not like you. He never wanted you. In all probability, he hates you. This is not the worst thing that can happen. Narrator: It isn't? Tyler Durden: We don't need him!
Here we see the complete rejection of all that has rejected Tyler. In the philosophy of Fight Club, salvation is letting go of everything and depending on the community. This is very much like the church described in Acts. The renouncement of property, the subversion of the dominant culture, and finding identity not through the institutions of the day but in one another are all paralleled. The statement of "We are God's unwanted children" comes from Tyler's family system. He is trying to get's his father's attention and this morphs into trying to get God's attention, as noted in this trailer:
The first two rules of Fight Club echo Jesus in the Gospel of Mark, not to tell anyone of his being the Messiah. Word gets out and both movements take off. So is Tyler Durden a Christ figure? I would argue yes and his Christ figure is more in keeping with the Jewish-Christian church than the current idea. The idea of the Messiah as a political agent, anointed by God but completely mortal, that overthrows the oppressors. This is exactly what Tyler does, even going so far as to die at the end and even have a duel-nature. Tyler is both spiritual and human. This could be more along the lines of a Gnostic image of Christ and the real question at the end becomes who dies? Does the Narrator shoot Tyler and is still the same? Or, in Tyler’s death (the Brad Pitt version) we know have the Narrator fully “put on the mind of Tyler”? I would go with the last statement. In the ending scene of the film, we have the Narrator and Marla watching the buildings blow up in a quasi-romantic happy ending. The film then messes up and shows a rather graphic picture of a penis, just like Tyler used to splice into children’s films. This shows that the movement is very much alive and it’s real. Tyler is now in the projector booth and the audience should beware.
Fight Club’s dim view of institutions, including religious ones, are much like the postmodern suspicion of all things systemized. We see a member of Fight Club in the movie try to pick a fight with a priest, smacking the bible out of his hand and spraying water on it. The next scene shows the very same priest wining a fight and hugging his opponent. Even the leaders of the institutions are taken by the message of Tyler.
This idea is best summed up by Robert Capon when he states
“The gospel of grace is the end of religion, the final posting of the CLOSED sign on the sweatshop of the human race's perpetual struggle to think well of itself. For that, at bottom, is what religion is: man's well-meant but dim-witted attempt to approve of his unapprovable condition by doing odd jobs he thinks some important Something will thank him for. Religion, therefore, is a loser, a strictly fallen activity. It has a failed past and a bankrupt future. There was no religion in Eden and there won't be any in heaven; and in the meantime Jesus has died and risen to persuade us to knock it all off right now" (Capon 166).
Tyler has the same thing in mind. All systems fail, all we need is trust in one another, and to be honest with ourselves. We get our identity from being in community, true community, open and vulnerable. Fight Club embraces the uncertainty of the postmodern life, experienced as is, in the collapse of the supporting structures of modernity, in the loss of traditional social ordering. Reconfigurations of what it means “to be” are explored in every way possible and what emerges is a new idea of what constitutes family and community much like what came out of Christ’s teachings some 2,000 years ago.
Fight Club is a 1999 movie starring Edward Norton, Brad Pitt, and Helena Bonam Carter. This movie ranks right up there with the Matrix... every time I see this movie, I see something new.
The Narrator hates his life. His sense of self is rooted in his condo, his clothes, and his Ikea furniture; he works a job he hates so he can buy shit he doesn't need (to paraphrase Tyler Durden). Jack is miserable, he can't sleep. His insomnia suggests that his life lacks substance. He says, "With insomnia, nothing is real. Everything is far away. Everything is a copy of a copy of a copy."
The setting starts out in offices and the narrator’s condo, pictures of sterile, light colors, juxtaposed to the darkness that the narrator is launched into after his condo blows up. So there are two images of the human condition. The first is one of being imprisoned. The cell is not stark, in fact it’s extremely comfortable and filled with all sorts of things that will bring personal fulfillment. Despite the clean and polished look, the colors here are unnaturally bright, stark, and alienating. There is nothing welcoming here.
Events unfold and the Narrator meets Tyler Durden whose ideologies are antithetical to the narrator’s: while Jack represents the material self, Durden represents the spiritual self. When Jack returns home from a business trip and finds out his condo blew up while he was gone, he calls Tyler for a place to stay. While the two chat over a pitcher of beer Durden explains to Jack that the "things you own end up owning you," suggesting that losing all his belongings may have been the best thing that ever happened to Jack. From this point on Durden helps Jack develop his spiritual self. Jack moves into a dingy home where he has nothing: No more Ikea furniture, no C.K. clothes or DKNY shoes. So the second image, the one of freedom, is largely shot in dark colors and at night. This image of freedom is everything that the prison is not; it’s dark, dirty, and squalid. The colors however, are warmer earth tones that eventually get softer as the movie progresses.
The mood is set largely by the narration. His tone and style is cynical and ironic and nonlinear. His thoughts are disjointed and there are flashbacks within flashbacks. He is trying to figure out what happened up until where we first meet him, with a gun in his mouth strapped to a chair. There is a lot of foreshadowing and use of sardonic humor. There is also rage and anger at the world.
Tyler articulates the problem of the film,
" Man, I see in fight club the strongest and smartest men who've ever lived. I see all this potential, and I see squandering. God damnit, an entire generation pumping gas, waiting tables; slaves with white collars. Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don't need. We are the middle children of history, with no purpose or place. We have no great war, or great depression. The great war is a spiritual war. The great depression is our lives. We were raised by television to believe that we'd be millionaires and movie gods and rock stars—but we won't. And we're learning that fact. And we're very, very pissed-off."
Identity is the prime concern of Fight Club. The Narrator describes his childhood as one where his dad leaves and “sets up franchises” with other moms every six years. The dad tells the Narrator to go to college, get a job, and then “I dunno… get married?” This formula leaves the Narrator in a dead end job without a sense of self. To compensate for this lack of identity, the Narrator spends his time wondering “What dinning set best defines me?” He tries to get his sense of self from how he’s told by advertising; namely to define one’s self through brands and material goods. This path is ultimately unsatisfying as he cannot sleep at night.
The Narrator’s job is interesting to note, because it is a soulless one.
He works for an auto company, “a major one”, and investigates auto accidents caused by a malfunction in the car’s design. What he does is officially called a “recall coordinator which apples the formula of “Take the number of vehicles in the field (A), multiply it by the probable rate of failure (B), then multiply the result by the average out-of-court settlement (C). A times B times C equals X... If X is less that the cost of a recall, we don't do one.” He justifies this in his mind by saying “On a long enough timeline everyone’s survival rate drops to zero.” The jokes used by the recall coordinators are trying to make light of the horror that they are confronting.
He then becomes addicted to self-help groups where “Every night I died and was born again. Every evening I was resurrected.” This is until Marla Singer comes in and ruins it by joining his “Remaining Men Together, Men with Testicular Cancer” group. “Her lie reflected my lie” and the Narrator can no longer sleep. Marla is completely different from the narrator. She has no regard, stealing clothes from a laundry and pawning them for money. She crosses the street without looking. Her philosophy of life is described that “she might die at any moment. The tragedy, she said, was that she didn't.” When asked why they are “tourists” in these groups, the Narrator and Marla find common ground:
Narrator: When people think you're dying, they really, really listen to you, instead of just...
Marla Singer: Instead of just waiting for their turn to speak?
Marla becomes the basis of Tyler Durden. For all intensive purposes, when introduced to Tyler, he appears to be another character in the story. As the narrative progresses, we learn that the Narrator and Tyler are actually the same person. This is evidence of how fractured the Narrator’s identity is. Tyler is free in all the ways the Narrator wishes he could be. This feedback loop created by the Narrator is similar to what he is rejecting in the culture. The conversation at the bar between the Narrator and Tyler shows how different they are:
Tyler Durden: Do you know what a duvet is?
Narrator: It's a comforter...
Tyler Durden: It's a blanket. Just a blanket. Now why do guys like you and me know what a duvet is? Is this essential to our survival, in the hunter-gatherer sense of the word? No. What are we then?
Narrator: ...Consumers?
Tyler Durden: Right! We're consumers. We are by-products of a lifestyle obsession. Murder, crime, poverty, these things don't concern me. What concerns me are celebrity magazines, television with 500 channels, some guy's name on my underwear. Rogaine, Viagra, Olestra.
Narrator: Martha Stewart.
Tyler Durden: Fuck Martha Stewart. Martha's polishing the brass on the Titanic. It's all going down, man. So fuck off with your sofa units and Strinne green stripe patterns. Of course, I could be wrong…
Tyler rejects “the basic assumptions of civilization, especially the importance of material possessions.” He states that “You're not your job. You're not how much money you have in the bank. You're not the car you drive. You're not the contents of your wallet. You're not your fucking khakis. You're the all-singing, all-dancing crap of the world.” He seeks to destroy the idea of “self” and replace it with a more communal model. The old capitalistic model is father and his company is using is sucking the meaning out of life. The self must be destroyed in Tyler’s mind and one must truly let go of all they think they know and think they want out of life. Even going so far as to intentionally get into a car crash. This serves to teach empathy to the Narrator, as that was the first time he has been in a crash. He studied them for a living but now he knows what being in one is like.
Tyler starts off using the system to gain money. He sells soap to department stores for large profits—the ironic thing is that the fat he uses in the soap is stolen from liposuction clinics. In a sense, he is “selling rich women their own fat asses back to them.” This evolves into a bigger vision. “In the world I see - you are stalking elk through the damp canyon forests around the ruins of Rockefeller Center. You'll wear leather clothes that will last you the rest of your life. You'll climb the wrist-thick kudzu vines that wrap the Sears Tower. And when you look down, you'll see tiny figures pounding corn, laying strips of venison on the empty car pool lane of some abandoned superhighway.”
Though making the soap and forming Fight Clubs around the nation, Tyler takes it to the next level and creates Project Mayhem. The sole goal of Project Mayhem is to blow up credit card companies and set the record back to zero. It is a biblical jubilee year.
Doubt is THE movie based on the play.. staring Amy Adams, Meryl Streep, and Philip Seymour Hoffman.
on the surface, this movie looks like it's about whether a priest molested a child in the 1960s. but it is about so much more!
it is about "how do we know what we know?" namely, the postmodern problem. issues of "knowing" and "knowledge" are constantly brought up and questioned. the authority doesn't know anything more than we do... however, there is a bright side. Hoffman states that "Doubt can be a powerful a bond as certainty." meaning all the creeds, religions, and institutions and their claim on truth has garnered many allies... but saying "i don't know" can garner just as many.
we see the conflict of the old guard and the new... traditional catholic versus vatican II. authoritarian power relations structure versus a progressive, empathetic style. views of humanity being good and bad.
doubt has so much more than just molestation doubts... it's about how ppl bond and separate. the basis of community is if we confess our frailty and our skepticism, that is the best way to form strong communal bonds. Streep and Hoffman don't do this between the two of them, although they both connect to Adams, and thus their bond never solidifies.
i found this movie absolutely breathtaking. it's a minimalist show with nothing fancy, no swelling musical notes to enhance the mood or even bright colors... but it is spellbinding and it will be with you long after you watch it.
English royalty behaving badly! starring Keira Knightley and James McAvoy, about a love story that spans decades. something goes wrong and lovers are separated.
this movie is all about the idea that objectivity is a myth and all history is revisionist. there is the question of culpability as well as the ambiguity of guilt.
the most interesting thing is how Atonement doesn't happen through religion, or even in the real world. it happens through art. art is the new medium of forgiveness... the new priests are the artists and the creative imagination being the tool that can heal a fragmented world.
always look to see why the story is being told.. is it out of guilt, kindness, or "hey this is funny/cool/sad!" i loved this movie because i'm all about art! finally a movie that puts poetry back to what it was! the teacher of humanity and the balm for our souls... that's in Gilead? i dunno.. check out this film.. and i heart Keira
Defiance was a movie we got from the Lancaster Public Library and I expected it to be a “shoot-‘em-up.” What I found was a film with deep meaning. movie directed by Edward Zwick and starring Daniel Craig and Liev Schreiber. The movie is based on the true story of the Bielski brothers who fought the Nazis in World War II on the Belarusian front. There are four Bielski brothers, Tuvia the oldest, Zus the husky fighter, Asael the sensitive one, and Aron the youngest.
The initial scenes show displacement, death, and chaos. Asael finds Zus in the woods and they head to their home only to find all of their family dead save for Aron. Zus grabs the mezuzah. When they find Tuvia in the woods later, Zus gives the mezuzah to Tuvia to acknowledge his leadership as well as to show the birthright. My friend and Jewish scholar, Yael, interprets this scene as “When a Jew moves from the house they remove their mezuzah from their doorways unless the next occupant is also Jewish. I saw the act of giving this mezuzah to the oldest brother as an affirmation of the family's survival. One day it would again be hung on the doorpost of his home, even if right now he has no home” (Lange).
The opening scene calls to mind the Diaspora Jews; the Jews of the Exodus, the Exile, and the various occupations. Like in the Bible, the setting is a character and must be considered and fought with every step of the way. The scarcity and menace of the forest is shown and felt in the characters. There are many shots of figures moving through the forest and very few shots of civilization. They are outgunned, out-numbered, and they are living in a forest with people used to the city life. When Tuvia meets Isaac Malbin, he askes what Isaac does. He states that he’s an intellectual that publishes a socialist pamphlet. Tuvia is surprised “That is a job?”
There are all sorts of problems here! Namely how do we live as community in a hostile world with shortages of food, resources, and with ppl you can't get along with... one of those being your fiesty brother.
The resolution to all of these problems is to form a resistant community removed from the rest of the world. There is a rejection of laying down and dying and “waiting for God.” In a sense, there is a rejection of traditional religion in the movie. “All too often traditional religion wants to take us back to ‘what was’ rather than help to root us in ‘what is’” (Taylor 122). Tuvia stated that the “best revenge is to live” and to live as humans with dignity.
There is however, a look back to traditional religion and ancestors to get the core identity of the group. Asael says, when training women how to shoot rifles, “this is not a gun, this is Bar Kochba’s spear. Samson’s jawbone. Elhud’s sword. The slingshot David used to bring down Goliath. We will become warriors like the Maccabees and the Tsiccerai.” This recalls the history of Jews being underdogs who resisted the invading power. The salvation comes from within the group, it is traded among the individuals of the group, one picking up the other when they fall. This is tested at every turn and there are exceptions to the law that Tuvia laid out.
A woman was raped by a German soldier and has a baby. Tuvia is at a crossroads because pregnancies are forbidden and he is considering shooting the mother and child. Lilka, Tuvia’s love interest, saves him and his humanity in this moment stating that the best thing to do is to bring life into the world of suffering and death; letting the child and mother live would be the ultimate act of defiance. Tuvia breaks down and cries here as he realizes that he loves Lilka. He finds love despite himself and affirms it. This is saving for Tuvia but there are two other times where others save him.
The Germans bomb the camp set up by Tuvia and his group and they are forced to flee from the invading infantry. They run through the forest but reach a wetland. Tuvia sits at the river bank and weeps. This calls to mind Psalm 137, “By the rivers of Babylon, There we sat down and wept...” Tuvia has completely given up and mourns. Asael saves him saying, “God will not part these waters, we will do it ourselves and not by miracles but together, through our strength. Strong will help the weak.” Asael provides the vision that is counter to what the world is doing, namely the strong killing the weak, the many oppressing the few. In this community, the lion lays down with the lamb.
The community reaches the other side only to be attacked by a panzer. Zus comes in and saves the community he has been running away from. He had overheard that the Russians were going to let the Germans kill Tuvia’s group. They were using the community as cover as the Red Army escaped and set up camp elsewhere. Zus realized that he was not fighting for the same things as his fellow soldiers were. This realization called him back to his true community.
What does this movie say about God?
God is mentioned frequently here. The movie revolves around questions of Theodicy.
First, there is a hope of a messiah, as evidenced by the conversation between the teacher and the intellectual, Isaac Malbin:
Teacher: “All I know about politics is that there is a monster in the East with the big mustache and the monster in the West with the little mustache; this is all I need to know about politics.”
Isaac: “Your messiah will have a mustache too… and a full beard!”
Teacher: “The messiahs are all in politics and they are killing us.”
Zus: “What is killing me is all your talking!”
Isaac: “Roosevelt! He has no mustache!”
There is still a hope in a savior in the line of thought of Isaac. Isaac represents the tradition in Judaism that believed that God determined the time of the Messiah's coming by erecting a great set of scales. On one side, God placed the captive Messiah with the souls of dead laymen. On the other side, God placed sorrow, tears, and the souls of righteous martyrs. God then declared that the Messiah would appear on earth when the scale was balanced. According to this tradition, then, evil is necessary in the bringing of the world's redemption, as sufferings reside on the scale. This is a big feature in post-Holocaust theology (Braiterman 55,62). The teacher, on the other hand doesn’t believe in this tradition.
The teacher prays “Merciful God, we commit our friends - Ben Zion and Krensky - to You. We have no more prayers, no more tears; we have run out of blood. Choose another people. We have paid for each of your commandments; we have covered every stone and field with ashes. Sanctify another land. Choose another people. Teach them the deeds and the prophesies. Grant us but one more blessing: take back the gift of our holiness. Amen.” He would give up being “God’s chosen” because this has only brought oppression and death to his people. When the teacher is first introduced he states that he viewed this as a trial, “as God’s way… it isn’t. Recent events have somewhat shaken my resolve.” He represents the view of agnosticism. The teacher doesn’t fully present these thoughts, but lets them hang as to emphasize his doubt and his inability to make sense of the violence and slaughter around him. By the end of the film, he says to Tuvia in his dying words that “I had almost lost faith. But you were sent by God to save us.” Tuvia states that this is ridiculous but the teacher states “Just in case, I thank God and you. You are an angel.” This represents the tradition in Judaism that angels can be mortal and are “messengers” from God. This view is closer to an Open theism as found in the writings of Harold Kushner. This position that argues, as does Process Theology, that God prefers to persuade rather coerce, and/or that omnipotence has been willingly relinquished so that humanity might have absolute free will. For example, the scientist-theologian
John Polkinghorne suggests that, in addition to free will, God has created the universe in such a way that it is, to a significant extent, allowed to make itself, and that such a world "is better than the puppet theatre of a Cosmic Tyrant” (Polkinghorne 14).
For many, the Holocaust is evidence that there is no God and that life is unfair and the world is chaos. “Others see the same unfairness and ask themselves ‘Where do I get this sense of what is fair and what is unfair?” (Kushner 142). Tuvia and his brothers really don’t ask questions of God’s existence. They were on the margins in the community anyway, but their rebellious lifestyle gave them the tools to survive and lead in the new context. Some would call this providence. Process theologians would praise Tuvia and his brothers for listening to God’s urges and being self-aware enough to put what they have learned into practice in service of others.
Asael is the one Bielski brother that seems aware of his theology. It is one of community and one that does not ask for God to do the impossible or unnatural, nor does he operate out of a sense of revenge as Zus does. Asael is the theological voice of the movie. His view reflects that of the prayer “Likrat Shabbat” by Jack Riemer:
“We cannot merely pray to you O God to end war;
For the World is made in such a way
That we must find our own path of peace
Within ourselves and with our neighbors.
We cannot merely pray to you O God to root out Prejudice:
for we already have eyes
With which to see the good in all people
If we would only use them rightly.
We cannot merely pray to you O God to end starvation:
For we already have the resources
With which to feed the entire World
If we would only use them wisely.
We cannot merely pray to you O God to end despair:
For we already have the power To clear away slums and to give hope
If we would only use our power justly.
We cannot merely pray to you O God to end disease:
For we already have great minds
With which to search out cures and healings
If we would only use them constructively.
Therefore we pray instead
For strength, determination, and will power,
To do instead of merely to pray
To become instead of merely to wish:
So that our World may be safe,
And so that our lives may be blessed” (Kushner 118).
great film with a ton in it! WATCH IT! here's another great line:
Koscik: “Why is it so fucking hard to be friends with a Jew?”
Tuvia: “Try being one.”
Clint Eastwood's last film is set in Detroit in the current times. It looks like a normal, run-of-the-mill Eastwood film with a gravel-voiced loner "take'n it to 'em AMERICAN STYLE!" but that's not it at all.
The mood is one of loss.. there is a loss of repect in the disrepectful youth, cultural expectations, respect for authority, tradition, and elders. Eastwood is in a classic role of his, namely an isolated and self-reliant person that is under siege and hostile to those around him. with good reason, dude has seen war in Korea, only survivor from his squad.
life for this character is not good as his wife just died, he doesn't like his kids or grandkids, the new priest is too young, and his neighborhood has gone to hell. Eastwood is a giant racist at the start of the film, calling his neighbors Swamp Rats, gooks, and all sorts of other fun things.
however, after saving a kid the Asian Hmong community rallies around their reluctant hero. they invite him over and he doesn't want to try the food, but at the urging of the young lady and the line "it's better than eating jerky" he tries it and falls in love with the food, the family, and the culture. the culture is one of respect for elders and traditions that Eastwood was mourning the loss of in his own family.
this movie is a secular transpotion of an Christian theme, namely a commentary on John 15:13 "No one has greater love than this, that one should lay down his life for his friends." the package of problems is also traditionally Christian, namely isolation, guilt, separation from God and others. Through Eastwood's friendship with the two youth next door, he opens up and chages. this movie shows the power of confession and relational living.
God in this film is persistent. grace and love is not through the traditional channels, such as the church or family. here we also see a new family emerge, like that Jesus talked in Mark 3:35: "For whoever does the will of God, the same is my brother, and my sister, and mother." Jesus erases the biological bonds of family and replaces them with theological ones.
the mediators of healing in the film are flawed human beings, esp. evident in the transformation of Eastwood. there is mutuality and reciprocity with these relationships and everyone comes out better for it... well.. save one, but even then, who knows?
i hope you will watch this film and give me feedback. it was one of the most moving movies i have seen this year.
Hey there fellow bloggers! I know you're waiting for the next installment of Reformation:the sitcom but i'm having some trouble with the 3rd ep. and also wanted to clue you in on what i've been up to this summer.
i just finished up the Leadership NOW academy where i worked as an adult mentor. Leadership NOW creates safe space for young people to explore question of meaning and vocation. Space for struggling, thinking, exploring, learning and seeking deep faith.it is an awesome experience! check out their new website it never fails to inspire me and keep me working to become a pastor.
this week i'm taking a class at the summer academy called "Theology and Film." we cover various theological points raised by some movies.. yesterday we watched Gran Torino and talked about how it's a classically christian movie. i'll post more on this on thursday.
Eve had a great time with her grandparents as they were here to help us out when i was at the academy. i didn't get to spend too much time with them, which stinks, but Eve did and that was awesome! Eve is doing great and growing like a weed! she's so freak'n cool!
this is the shortened version... Erasmus and Luther duked it out over this concept rather heatedly and for all intensive purposes, Luther won out. I side with Erasmus.. but i see the merit in Luther's position, trying to establish God's sovereignity. just as Dawn says at the end, "We're predestined to have free will" love that line and the reactions of the other two seminarians.
the buzzing in Episode One was from the remodeling projects going around at F&M the college across the street. you can still hear it here too. out of our 5 hours of shooting the work lated 3.5 hours of that. so that kinda stunk.
i'm really happy with these small snap shots. originally (in the script) these would have gone on while the credits rolled, after you got the full helping and theological support from each of the reformers (and then you'd know why Erasmus lost) but due to the constraints of shooting, this was the best option. notice how Calvin talks the longest, something he'll be doing from here on out. he has a lot to say and write on all these subjects as he constantly is working on these issues. he's best known for predestination, but he has a pastoral methodology to his work. never does he damn others to hell but simply hopes that they will one day join the church. it is his later followers which do that dirty work, which inturn tarnishes Calvin. but Calvin did set himself up for it.
we humans can use anything as weapons... physically or spiritually.
first episode was really fun to shoot. it was the one where i took the most liberties with the characters... from here on out, largely the Reformers will be speaking words that they wrote themselves in their various debates they had between them.
Some explanation of the episode:
the reformers match up like this: Erasmus modern counterpart is the Anglican, Luther is the Lutheran, and Calvin and Zwingli are UCC.
Zwingli is an iconoclast and that's why he likes the library (unadorned Bauhaus/International style) and takes down the picture of Christ that Erasmus hangs up.
Luther posted the 95 which was very famous. Zwingli had his own list which was 63 aspects of what he thought was the Christian religion. Calvin read all of these, including other works by Erasmus and the Brethren reformers, and encorporated and debated all of their concepts in his Institutes which is a massive work that he constantly worked on. So after Calvin gets the superior parchment and pen (he stole from the Lutheran) he will constantly be working and writing and only looking up to synthesize debates other reformers are having.
I really enjoyed what the actors brought to the script, i wish i had more film training to capture their energy and work, but think this final cut has more pluses and is pretty close to what i had in my mind. Luther's famous "By Satan's Smokey Ass" phrase (that i got the most comments about) was adlibbed by the actor Jim Siburt, who also suggested the ending song by the Super Furry Animals which i love!
I absolutely LOVE Barry Taylor's "Entertainment Theology: New-Edge Spirituality in a Digital Democracy." I love it so much that I'm thinking of just submitting this book when it comes to putting in my ordination papers... but i don't think that will fly with my future committee.
here are some great quotes that Barry uses to introduce his chapters that I will use to speak about this wonderful book:
"...At the very cry from the cross: the cry which confesses that God was forsaken by God. And now let the revolutionists choose a creed from all the creeds and a god from all the gods... they will not find another god who has himself been in revolt... They will find only one religion which God seemed for an instant to be an atheist." -G.K. Chesterson: Orthodoxy
Taylor talks about a re-encoding of the message. Taking artistic license, risking and endeavoring to take new routes with stories that have so long been closed to new meanings. No longer can the theological connection point for Christianity be "You are a sinner who will die in your sins unless you repent. You must be born again." Taylor asks "Is it really the only connection with God through the Jesus story? I think not, though I think it is A connection to Christianity and has been the dominant mode of connection in the church post-Reformation." (page 198).
This approach means no pre-packaged dogmas, doctrines, or resting on old answers. Nor is it throwing out all the dogmas, doctrines or old answers. It is a wide net that Taylor is casting... or actually, asking others to cast. It is a multi-disciplinary approach to life that seeks to encapsulate and make room for people "at the foot of the cross... even atheists." It is keeping Christus Victor right alongside all the other forms of atonement and inventing new ones or not having atonement at all! All of these are possibilities depending on context.
"Poetry will reach a superior dignity, it will become in the end what it was in the beginning---- the teacher of humanity." Friedrich Schelling, Philosophy of Mythology
Taylor constantly uses pop culture to talk about his spiritual outlook. He is quite wise to point out the difference between the movies Stigmata and the Exorcist. He then uses movies and art and poetry to classify 4 movements and expressions of spirituality in the world: 1. Zen Culture 2. The Next Enlightenment 3. Retrolution and 4. Resistant Communities. here are some brief descriptions:
Zen Culture: a "westernized Asian Thought" is being seen through the growing popularity of Anime, ancient wisdom, and use of imagery in movies. Think THE MATRIX here, where it is a blend of Christianity, Gnostic, and Mystic western thought mixed with Tao, Buddhist, Zen, and Kung-Fu eastern notions. Much like the music that's produced by Washington D.C.'s own Thievery Corporation:
Next Enlightenment: Rational Mystics Taylor terms them. Books like The Celestine Prophecy and the Golden Compass are about finding ways to connect to the divine and trusting one's self to do that without the traditional support structures of formalized religion. This approach is all about the WHOLE PROCESS of things and emphasizes community, relationality, and level playing field... there is a "serious concern for their inner lives with a strong penchant for social activism, including a commitment to a sustainable future." but Taylor notes that it's equally important to see their dislikes and those are "social inequality, intolerance, and the Religious Right." U2 would be the biggest band in the strain, but then you get Springsteen, Saves the Day, and the Flobots here as well. Here's one of my fave songs by Switchfoot:
Retrolution: Postmodern Gothic, a blend of ancient and modern.. like what we find in The Da Vinci Code, Harry Potter, and Donnie Darko. These stories "explore the old and a little under the surface deal with the new; past literary forms and present concerns exist side by side." The is also an element of mystery and shock value and no guarantee for happy endings. Think spirituality ala Marilyn Manson, Slipknot, and Nick Cave and the Bad Seeds. can't count the amount of social and religious imagery found in my fave Manson video (not to mention the cheerleader like chant within it, i LOVE this song!):
Resistant Communities: the religious right, street preachers, and the like. Jerry Falwell style, that is directly engaged and obsessed with "the other". This community has a desire which is commoditized and the motivating factor is fear. The Left Behind Series would be an example here. Of course my bias is showing here... not Taylors.. because i'm rather sick of these communities and i deal with them all the time. they want to rest of "old answers" yet ignore that the answers they're coming up with are new permutations of old things... there is many positive aspects to these communities, it's not all bad.. and there's even some good music coming out of it... well it's been awhile, but here's what I remember being "cool" when i listened to "Christian Music":
I highly recommend this book! I'm all about it! I feel that it perfectly articulates many of the crazy thoughts zooming around in my head. I hope you'll check it out!
I worked for the last year as an intern at Trinity Reformed United Church of Christ in Mountville PA. The pastor there, Pastor Nancy, is awesome and we had a great time. I have a life-long mentor and friend here. She has started her own blog, quite awhile ago, and i neglected to promote it. Well, here's a great sermon by her talking about faith. My fave. quote is "Faith is a person’s or group’s way of moving into the force field of life. It is our way of finding coherence in and giving meaning to the multiple forces and relations that make up our lives."
Julia O'Brien is the prof of Old Testament here at LTS. She has started a new program on her blog called "Reading the Bible as an Adult." The jist of it is "This project helps readers from differing backgrounds engage the Bible as grown-ups: showing them how to read carefully, pointing out the human dynamics of the text, and providing questions that invite discussion about the dynamics of the stories and the realities of people's lives." Check it out here, i think it's extremely facinating.
this past weekend, Kate and I took Eve for her first trip to the land of our birth. the land of the bobcats, O-H-I-O! It was both great and bizarre to be in the place where i grew up with my kid.
Kate's sisters threw a "welcome Eve" shower/party/shin-dig and a ton of our friends and family showed up, including our DC friends who moved to Cincy, our C-bus crew, and Kate's aunt from San Fran! it was such a great time! the food was great (Sweet Baby Ray's Pulled Pork, YUM!), the weather perfect, and the conversations were great. i can't think of a better way to spend a saturday.
I was asked "So what was the greatest revelation/change since becoming a parent?" this comment really struck me and i had the following things to say:
1. I have a stake in things. I need to recycle more, keep healthy, and work to preserve the world and make it a better place for my kids to grow up.
2. I am no longer just me. and i never was "just" me. we have the idea that we can be individuals without contact with others, but i can't describe myself without talking about a relationship. I am a husband, friend, brother, son, and now FATHER. i used to fear this last title because of how my own father operated. but now i love this title! my identity is no longer just about me, it's about what type of person i am to my child as well as my friends and family. my identity is corporate, it always was, but now this concept is more of a reality.
we all are in community and relation with one another. i think that a balance needs to be struck between total individual (as this can result in an inflated ego, a sense of isolation leading to depression, or a skewed view of reality) and total community (as this can result in anxiety and a general laziness that "someone will take care of it, "I" don't have to do anything cause there is no "I").
3. Different Priorities. I love my single and no-offspring friends, but our concerns aren't the same anymore. that's okay, that diversity is what makes life interesting! but many ideas, concerns, or stances on issues, i just don't have or hold any more.
that's about it. the trip home also caused me to look through some ol' high school poetry and writings. man, what a collection of self-righteous pissings! i was angry! but that's what happens when you're out of place in a community and not using what is in front of you. i was frustrated by the smallness of my hometown, but i now see the beauty and gifts that experience has given me.
it was a busy weekend. it was a reflective weekend. it was a weekend at the first of the month and that means CANTON FIRST FRIDAY!!! My sister-in-law is in charge of this event, which is part block party part gallery hop. it is outstanding. Lancaster has a first friday as well, but it is nothing compared to the shin-dig Canton puts on. There were the Budweiser Clydesdales, musicians left and right, wonderful art and photography, a slew of diverse peoples (GREAT people-watching!), and the Society for Creative Anachronisms beating the crap out of each other with their home-made swords. it was AWESOME! oh! not to mention that every Saturday after 1st friday there is Scared Scriptless which is a "Who's Line is it Any Way?!" style impromptu comedy show. Downtown Canton is the place to be.
Taylor is concerned with three interwoven ideas: (1) the implosion of modernity and the rise of the postmodern/postsecular, (2) the spiritual condition of popular culture that signifies a return to God, and (3) a vision for Christianity in this current milieu and for the future.
We have largely been living in a world where Christianity hasn't wielded the power it once did, churches are in decline, more and more people are biblically and theologically illiterate, and the rise of "Secularism" have been cried about by many-a theologian (both conservative and liberal). Taylor, on the other hand, sees this as a good thing! it's like the chinese saying "With great challenge comes great opportunity."
Taylor sees that the western culture has largely taken the modernist pill, thinking everything can be rationalized and explained. Max Weber wrote about the "disenchantment of the world" saying that magic and mystery had been driven from the world by the dominance of bueraucracy. These are "Specialists without spirit, sensualists without heart, this nullity imagines that it has attained a level of civilization never before achieved."
however, with the popularity of Harry Potter, Fight Club, The Celestine Prophecy, The Sixth Sense, Donnie Darko, and (my fav.) THE MATRIX shows that these have become the primary means of continuing the study of one's spiritual interested in the age of the democratization of the spirit. The Church has been left behind and the culture is fashioning its own form of spirituality and God-talk that Christianity must take seriously.
Rather than being cool, Christianity must be relevant, something i've been scream'n for a while on this blog. The main ways in which it can be so will be through an identity shift, a new typology for missional theology, and a new encoding of the Christian message, all of are in desperate need of imagination. The instillation of creativity from the pew and a higher rate of participation and congregational input.
Taylor writes, “The shift in times demands a new reiteration of the message, one that is a pertinent and timely iteration of the timeless Christ story for our cultural context.” Thankfully this iteration can come from both inside and outside the church as he asserts that “theology is no longer a specialized field to be left to those deemed qualified.” There is much encouragement for artists and lovers of art to get involved.
I'm totally into this book. Esp. how the new religious permutations "will lead to the emergence and advance of post-Newtonian chaotic-observer aware science." He also cites this Radiohead video as a metaphor for the reenchantment of the West, and i think this dude is right on!
LET'S GET CREATIVE AND CRAZY! LET'S GET RE-ENCHANTED WITH THE WORLD! WOOT!
When Christopher Hitchens declares that given the emergence of “the telescope and the microscope” religion “no longer offers an explanation of anything important,” Eagleton replies, “But Christianity was never meant to be an explanation of anything in the first place. It’s rather like saying that thanks to the electric toaster we can forget about Chekhov.”
Eagleton likes this turn of speech, and he has recourse to it often when making the same point: “[B]elieving that religion is a botched attempt to explain the world . . . is like seeing ballet as a botched attempt to run for a bus.” Running for a bus is a focused empirical act and the steps you take are instrumental to its end. The positions one assumes in ballet have no such end; they are after something else, and that something doesn’t yield to the usual forms of measurement. Religion, Eagleton is saying, is like ballet (and Chekhov); it’s after something else.
plus i'm also going to read Entertainment Theology, some Kierkegaard, Robert Capon, some preaching texts, as well as Heidi Neumark's Breathing Space. lots of great books, hope to mainly be posting pictures of Eve and book reviews this summer.
Just a run down of some of the peeps on the side over there >
Cody Crashes the Last Supper he was a peer mentor this past summer, is in undergrad in phila and is a wonderful person and chef. his blog i think is the only one to offer theological recipes.
the DeCons at De-Conversion may seem like an odd choice for a seminarian to have. this is not a "keep your friends close..." sorta move but more of a "you learn the most from your harshes critics" deal.
Blair Divides by Zero is a sci-fi fan who introduced us to Firefly. we met him when Kate and I were part of the Gaithersburg Germantown Jaycees. He's full of mischief that one!
KT askes does God Have A Nose, Chris romps in the Garden of Eden, Greg is an NT Geek, and Sally Yields to Pedestrians. I attend seminary with all of these folks and they all provide wonderful perspectives on this shared trainwreck called seminary. Greg is one of the conductors, the prof of New Testament here at LTS. great blogs all!
I love seminary! i get to hang out and talk God-talk all day long and get a TON of views backed up with personal experience and denominational doctrine. it's pretty cool! i'd say darn near heaven for someone who loves talking. God is truly bigger than what i think and i'm considering a lot of things i never had to before. from my political views to my philosophical and theological views. it can be scary for some, but i just absolutely love it.
Chris Eden sent me a great article and we had a discussion about it. The article was called "Are You A Christian Hipster?" and at first glance i was all about it!
then Chris pointed out that we pretty much love to label and categorize things, but that is largely on what we NOTICE and THAT is an entirely subjective exercise. The article proves a framework and it's flawed. heavily in some places. but i think it responds to our human need to label & categorize in the hopes of finding identity. our basic need is to belong and be affirmed.
Like i loooove most of the authors listed, i definately don't like anything labeled "Christian" before my music and movies, and i'm idealistic. I LOVE thinking and acting Catholic but have no respect for the institution of the church (patriarchy on crack). i don't have any tattoos and i don't smoke. but i WANT TO belong.. i just don't fit the mold.
and here's the secret... none of us do perfectly. we're individuals who want to be a community. we are finding that we can only establish our identity only if we're comparing ourselves to something else... i don't think you can define yourself without using a relationship. and here's what it's all about:
IDENTITY! I am apart from all these other slobs! just look at how i fashionably blend goodwill with Lucky and Gap clothes and put that with some Adidas sneaks and my iPod with a collection of bands NO ONE ELSE HAS!
i am me. and the sooner you recognize this the better off we'll be.... never mind the fact that a whole bunch of other people are doing the exact same thing and listening to the same bands just not in the order i have... just never mind that!
it's our American INDIVIDUALITY! and reliance on self that keeps butting up against our need to be in relation with one another. and the only way to get individuals into a group is through good marketing. at least.. that's the answer the church is going for (whether be fundie or liberal settings). and this too will fail. but it's how we're trying to frame the situation now.
Each year, i put one of my fav. Death Cab songs up for New Years Eve, my least fav. holiday (even Boxing Day ranks higher IMO)
But i found that this year, i DO feel different.
actually, everything feels different. 2008 brought some massive changes. Kate and I were politically active, but never before at this level nor this loud and sure about our candidate. The First Black President. awesome!
This year we saw our closest friends give birth to a wonderful baby boy. i entered into the parish setting and felt that this is ABSOLUTELY what i'm supposed to do. i've found some great blogging friends and we're the "Canon" which is just been great to have regular comments to challenge and support.
And the biggest change, Kate and I are expecting. i can't wait to meet this kid! at first we thought it was a boy, but now we're thinking Tom-Boy! Given Kate and the women on my side of the family, this also feels right. What we're hoping for is a BABY!!! All we ask for is a healthy baby and a short labor for Mama, the gender is irrelevant.
I'm gearing up for a trip to Egypt and possibly Thailand in the summer. I've traveled before to Germany, but Egypt will be a whole 'nother ball game. Despite most assumptions, this is NOT a mission trip. we’ll be learning about the culture and history. it’s a two week stay where we learn about the Coptic Christians and Islam, largely, but we do have one synagoge visit scheduled.
the seminary is set on getting us out of our western mindset and show how globalization is a double-edged sword and not everyone thinks and acts like Americans or even Christians for that matter! and Christians don't even act like how we would define "Christian" here.
you can't see the water in which you swim until you're out of it. Germany changed my life and i can't wait to see who i am after Egypt (AE?) i’m excited! i mean, when is the next time i can travel abroad with my best friends? I just hope that Jim, Steve, and I are still friends after this ;-)
Back to Boogie, Kate and I always say we should relish this time, as it's the last "us" time we'll have for awhile. last time we can go out without a baby-sitter. last time we can pull up and go to a movie at the drop of a hat. as this song states, "The world we love forever gone".
sorry for the anime video, just focus on the song ;-)
but we can't wait to be parents. after 9 years of being together, Kate and I are finding a whole new level of our relationship. it's been wonderful.
to quote the song again:
It might seem like a dream, but it's real to me. Don't it feel like sunshine after all.
When talking to Chris a few weeks ago, he mentioned how easy it is to get overwhelmed here. I stated that there are 3 possible responses to being overwhelmed, I now will say 4:
1. Do Nothing. There's simply too much, best just to sit in class and see what topics are brought up from the readings rather than reading them. 2. Trudge Through It. Might not get to all readings, but cover enough to feel comfortable. 3. Speed Read. Skim all of the materials. You cover all the stuff but the comprehension rate suffers. I'm most guilty of this. 4. Read It All. This means you will sacrifice all community interaction, relationships, and your sleep suffers greatly.
My new metaphor for seminary shows my video game bias as it is particularly violent, but i think it gets the point across. Leadership NOW! peeps will prolly recognize this metaphor (as i have no real original materal, just constantly rehash old stuff ;-)).
Seminary is like a ZOMBIE-INVASION.
There is an outslaught of some-what dangerous looking things heading your way and it's easy to get overwhelmed here. How to survive a zombie-invasion is quite easy. You pick off the ones closest to you and keep aware of where your ammo is. Those who panic and aren't focused will be removed of their brains. Keep your feet moving, only rest when you've check all possible points-of-entry and keep your reloading stations in mind.
If you loose sight of the ammo stations, the profs will point you to sites where you can pick up new weapons. profs are smart enough to know how best to equip you, they won't give you Process Theology weapons if you're a Karl Barth wielder and vice versa.
like i said, rather violent, but shows my age and my addiction to video games and horror movies. RAWK ON!
it's been post-a-rama here the past few days.. but what do you expect? i'm done with school and have a lot to talk about! now that i have the chance, it's catch up time.
Kate wrote a wonderful description of the Bible Study we attended last night and I felt like share'n it. so here's the first guest post from Kate:
We went to bible study tonight at Trinity Reformed UCC (where Luke is going to intern). It was great—all about Sodom and Gomorrah and how the original translation of sodomy is to not be hospitable toward someone. That’s what Sodom’s sin was—--not being welcoming to the strangers in their midst. more cat pictures
And also Pastor Nancy said that when Lot and his wife were fleeing the town, and she looked back and turned into a pillar of salt, that’s an old saying for saying you had a stroke (like we say she “kicked the bucket”).
AND that reading the Bible is like reading a newspaper. Bible is full of poetry, history, narratives, stories, myth. Newspaper has Dear Abby, front page news, poetry people submit, recipes, etc. If you are reading a poem in the paper that says “her lips were like rubies” you know it’s not LITERAL. You don’t say “this poem isn’t literally accurate, I’m throwing out the rest of the newspaper!” Same with the Bible.
And finally, Nancy said she was preparing for Advent with some ministers a few years ago, and they were reading the nativity story. When they read about their being no room for them (Jesus’ family), a black minister said, “No, you’re not reading that right. I’ve always read it and interpreted it as “there was no room for THEM.” Which never crossed the minds of the white people, b/c they’ve never been denied a room in a hotel. But the Bible doesn’t say the rooms were all full. So just shows that it all depends on your interpretation and where you are coming from.
