Adam Barkman is professor of philosophy at Redeemer University.Antonio Sanna is teaching assistant at the University of Sassari.

• Part I: The Religious ThinkerChapter 1. Faith, Female Sacrifice, and the Medieval Martyr in Mel Gibson’s BraveheartChapter 2. A Challenge to Jewish-Christian Relations: Mel Gibson and The Passion of the ChristChapter 3. What Apocalypto Reveals: Migratory Premonition and Religiosity in Gibson’s NA FilmChapter 4. The Power of Passion: Lessons on the Messiah from the Sacred and SecularPart II: The Social PhilosopherChapter 5. Mel Gibson’s Visceral Vision: Exploring Recovery from the Human ConditionChapter 6. The Arete of War: Aristotelian Virtue in BraveheartChapter 7. It’s a Real, Real, Real Man’s World: Sexy Martyrdom and Heroic Fortitude in Mel Gibson’s Braveheart, The Passion of the Christ, and Hacksaw RidgePart III: The Filmmaker and HistorianChapter 8. A Falling Comedy Star: The Ascent, Descent and Shift in the Comedy Film Career of Mel GibsonChapter 9. Mel Gibson’s Apocalypto: ‘Not the Maya We Know’Chapter 10. Film Adaptation, Depoliticization and The Man Without a FaceChapter 11. Apocalypto and the Ancient Maya: To Entertain or to Educate?Chapter 12. Mel Gibson’s Unarmed War: Hacksaw Ridge

Adam Barkman is professor of philosophy at Redeemer University.Antonio Sanna is teaching assistant at the University of Sassari.

• Part I: The Religious ThinkerChapter 1. Faith, Female Sacrifice, and the Medieval Martyr in Mel Gibson’s BraveheartChapter 2. A Challenge to Jewish-Christian Relations: Mel Gibson and The Passion of the ChristChapter 3. What Apocalypto Reveals: Migratory Premonition and Religiosity in Gibson’s NA FilmChapter 4. The Power of Passion: Lessons on the Messiah from the Sacred and SecularPart II: The Social PhilosopherChapter 5. Mel Gibson’s Visceral Vision: Exploring Recovery from the Human ConditionChapter 6. The Arete of War: Aristotelian Virtue in BraveheartChapter 7. It’s a Real, Real, Real Man’s World: Sexy Martyrdom and Heroic Fortitude in Mel Gibson’s Braveheart, The Passion of the Christ, and Hacksaw RidgePart III: The Filmmaker and HistorianChapter 8. A Falling Comedy Star: The Ascent, Descent and Shift in the Comedy Film Career of Mel GibsonChapter 9. Mel Gibson’s Apocalypto: ‘Not the Maya We Know’Chapter 10. Film Adaptation, Depoliticization and The Man Without a FaceChapter 11. Apocalypto and the Ancient Maya: To Entertain or to Educate?Chapter 12. Mel Gibson’s Unarmed War: Hacksaw Ridge