Adele Reinhartz – författare

Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus'' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson''s 2004 The Passion of the Christ. No doubt there are more to come.Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus'' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus'' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality. Reinhartz''s study of Jesus'' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society''s profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000 years ago.

Anonymous characters -- such as Lot's wife, Jephthah's daughter, Pharoah's baker, and the witch of Endor -- are ubiquitous in the Hebrew Bible, and appear in a wide variety of roles. Adele Reinhartz here answers two principal questions concerning this aspect of biblical narrative. First, is there a "poetics of anonymity," and if so, what are its contours? Second, how does anonymity affect the readers' response to, and construction of, unnamed biblical characters. She is especially interested in issues related to gender, determining whether female characters are more likely to be anonymous than male characters, and whether the anonymity of female characters functions differently from that of male characters.

Since the advent of cinema, Jesus has frequently been found in our movie houses and on our television screens. Biblical scholar Adele Reinhartz provides the first comprehensive study of the relationship of Jesus movies to the Gospels. Reinhartz focuses on the cinematic representation of Jesus, touching on such topics as Jesus' historical and cultural context, his biography, and his messianic identity. Her overarching theme is that the Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. Jesus films, she shows, provide a window to the profound changes in cultural attitudes, social institutions, and religious belief that Western culture has experienced in the first hundred years of film.

Unnamed characters--such as Lot''s wife, Jephthah''s daughter, Pharaoh''s baker, and the witch of Endor--are ubiquitous in the Hebrew Bible and appear in a wide variety of roles. Adele Reinhartz here seeks to answer two principal questions: first, is there a "poetics of anonymity," and if so, what are its contours? Second, how does anonymity affect the readers'' response to and construction of unnamed biblical characters? The author is especially interested in issues related to gender and class, seeking to determine whether anonymity is more prominent among mothers, wives, daughters, and servants than among fathers, husbands, sons and kings and whether the anonymity of female characters functions differently from that of male characters.

Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson's 2004 The Passion of the Christ. No doubt there are more to come. Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality. Reinhartz's study of Jesus' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society's profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000 years ago.

Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus'' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson''s 2004 The Passion of the Christ. No doubt there are more to come.Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus'' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus'' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality. Reinhartz''s study of Jesus'' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society''s profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000 years ago.

Bible and Cinema: An Introduction is a comprehensive examination of how the Bible has been used and represented in mainstream cinema to develop its plots, characters, and themes. The book considers two general types of films: Bible movies that retell biblical stories, such as the Exodus and the life of Jesus, and Bible-related movies that make use of biblical books, stories, verses, and figures, and Bibles themselves to tell non-biblical, often fictional, narratives. Topics covered include: the contribution of Bible and Bible-related movies to the history of the Bible’s reception; the ways in which filmmakers make use of scripture to address and reflect their own time and place; the Bible as a vehicle through which films can address social and political issues, reflect human experiences and emotions, explore existential issues such as evil and death, and express themes such as destruction and redemption; the role of the Bible as a source of ethics and morality, and how this role is both perpetuated and undermined in a range of contemporary Hollywood films; and film as a medium for experiences of transcendence, and the role of the Bible in creating such experiences. This thoroughly updated second edition includes insightful analysis of films such as Noah, Gods and Men, Mary Magdalene, and The Shawshank Redemption, paying attention to visual and aural elements as well as plot, character, and dialogue. The book also includes pedagogical resources including discussions of film theory, as well as key words and discussion questions. Teachers, students, and anyone interested in the intersection of Bible and cinema will find this an invaluable guide to a growing field.

Bible and Cinema: An Introduction is a comprehensive examination of how the Bible has been used and represented in mainstream cinema to develop its plots, characters, and themes. The book considers two general types of films: Bible movies that retell biblical stories, such as the Exodus and the life of Jesus, and Bible-related movies that make use of biblical books, stories, verses, and figures, and Bibles themselves to tell non-biblical, often fictional, narratives. Topics covered include: the contribution of Bible and Bible-related movies to the history of the Bible’s reception; the ways in which filmmakers make use of scripture to address and reflect their own time and place; the Bible as a vehicle through which films can address social and political issues, reflect human experiences and emotions, explore existential issues such as evil and death, and express themes such as destruction and redemption; the role of the Bible as a source of ethics and morality, and how this role is both perpetuated and undermined in a range of contemporary Hollywood films; and film as a medium for experiences of transcendence, and the role of the Bible in creating such experiences. This thoroughly updated second edition includes insightful analysis of films such as Noah, Gods and Men, Mary Magdalene, and The Shawshank Redemption, paying attention to visual and aural elements as well as plot, character, and dialogue. The book also includes pedagogical resources including discussions of film theory, as well as key words and discussion questions. Teachers, students, and anyone interested in the intersection of Bible and cinema will find this an invaluable guide to a growing field.

Movies which have drawn inspiration from the Bible, either directly or indirectly, have been extremely popular since the earliest days of cinema. Bible and Cinema: Fifty Key Films introduces a wide range of those movies, which are among the most important, critically-acclaimed and highest-grossing films of all time, including:The King of Kings Ben-Hur The Passion of the Christ FrankensteinClose Encounters of the Third Kind2001: A Space Odyssey Apocalypse Now Monty Python’s Life of Brian. Written by a team of international scholars, the fifty entries discuss the Biblical stories, characters or motifs depicted in each film making this book the ideal guide for anyone interested in the long-standing relationship between the Bible and film.

Movies which have drawn inspiration from the Bible, either directly or indirectly, have been extremely popular since the earliest days of cinema. Bible and Cinema: Fifty Key Films introduces a wide range of those movies, which are among the most important, critically-acclaimed and highest-grossing films of all time, including:The King of Kings Ben-Hur The Passion of the Christ FrankensteinClose Encounters of the Third Kind2001: A Space Odyssey Apocalypse Now Monty Python’s Life of Brian. Written by a team of international scholars, the fifty entries discuss the Biblical stories, characters or motifs depicted in each film making this book the ideal guide for anyone interested in the long-standing relationship between the Bible and film.

Current scholarship in the study of ancient Christianity is now available to nonspecialists through this collection of essays on anti-Judaism in the New Testament and in New Testament interpretation. While academic writing can be obscure and popular writing can be uncritical, this group of experts has striven to write as simply and clearly as possible on topics that have been hotly contested. The essays are arranged around the historical figures and canonical texts that matter most to Christian communities and whose interpretation has fed the negative characterizations of Jews and Judaism. A select annotated bibliography also gives suggestions for further reading. This book should be an excellent resource for academic courses as well as adult study groups.

Eloquently written and meticulously researched, Scripture on the Silver Screen offers all students of Scripture--whether in an academic classroom or at home--an inviting new way to further their biblical literacy. It questions the "Hollywoood Hermeneutic" that too often views the Bible as prop, but also recognizes the contributions of movies that successfully integrate the Bible as a plot-making device. Each chapter begins with a discussion on the focal Bible passage, placing it in its literary and historical context, followed by a summary of the film and its main themes.

Adele Reinhartz has been studying and teaching the Gospel of John for many years. Earlier, she chose to ignore the love/hate relationship that the book provokes in her, a Jew, and took refuge in an "objective" historical-critical approach. At this stage her relationship to the Gospel was not so much a friendship as a business relationship. No longer willing to ignore the negative portrayal of Jews and Judaism in the text, nor the insight that her own Jewish identity inevitably does play a role in her work as an exegete, Reinhartz here explores the Fourth Gospel through the approach known as "ethical criticism," which is based on the metaphorical notion of the book as "friend"--not "an easy, unquestioning companionship," but the kind of honest relationship in which ethical considerations are addressed, not avoided. In a book as multilayered as the Gospel itself, Reinhartz engages in 4 different "readings" of the Fourth Gospel: compliant, resistant, sympathetic, and engaged. Each approach views the Beloved Disciple differently: as mentor, opponent, colleague, and as "other." In the course of each of these readings, she elucidates the three narrative levels that interpenetrate the Gospel: the historical, the cosmological, and the ecclesiological. In the latter, Reinhartz deals at length with the so-called expulsion theory, the dominant scholarly notion that the Johannine community, which included believers of Jewish, Gentile, and Samaritan origins, engaged in a prolonged and violent controversy with the local Jewish community, culminating in a "traumatic expulsion from the synagogue."

Bible and Cinema: An Introduction is a comprehensive examination of how the Bible has been used and represented in mainstream cinema to develop its plots, characters, and themes. The book considers two general types of films: Bible movies that retell biblical stories, such as the Exodus and the life of Jesus, and Bible-related movies that make use of biblical books, stories, verses, and figures, and Bibles themselves to tell non-biblical, often fictional, narratives. Topics covered include:

the contribution of Bible and Bible-related movies to the history of the Bible’s reception;

the ways in which filmmakers make use of scripture to address and reflect their own time and place;

the Bible as a vehicle through which films can address social and political issues, reflect human experiences and emotions, explore existential issues such as evil and death, and express themes such as destruction and redemption;

the role of the Bible as a source of ethics and morality, and how this role is both perpetuated and undermined in a range of contemporary Hollywood films; and

film as a medium for experiences of transcendence, and the role of the Bible in creating such experiences.

This thoroughly updated second edition includes insightful analysis of films such as Noah, Gods and Men, Mary Magdalene, and The Shawshank Redemption, paying attention to visual and aural elements as well as plot, character, and dialogue. The book also includes pedagogical resources including discussions of film theory, as well as key words and discussion questions. Teachers, students, and anyone interested in the intersection of Bible and cinema will find this an invaluable guide to a growing field.

Bible and Cinema: An Introduction is a comprehensive examination of how the Bible has been used and represented in mainstream cinema to develop its plots, characters, and themes. The book considers two general types of films: Bible movies that retell biblical stories, such as the Exodus and the life of Jesus, and Bible-related movies that make use of biblical books, stories, verses, and figures, and Bibles themselves to tell non-biblical, often fictional, narratives. Topics covered include:

the contribution of Bible and Bible-related movies to the history of the Bible’s reception;

the ways in which filmmakers make use of scripture to address and reflect their own time and place;

the Bible as a vehicle through which films can address social and political issues, reflect human experiences and emotions, explore existential issues such as evil and death, and express themes such as destruction and redemption;

the role of the Bible as a source of ethics and morality, and how this role is both perpetuated and undermined in a range of contemporary Hollywood films; and

film as a medium for experiences of transcendence, and the role of the Bible in creating such experiences.

This thoroughly updated second edition includes insightful analysis of films such as Noah, Gods and Men, Mary Magdalene, and The Shawshank Redemption, paying attention to visual and aural elements as well as plot, character, and dialogue. The book also includes pedagogical resources including discussions of film theory, as well as key words and discussion questions. Teachers, students, and anyone interested in the intersection of Bible and cinema will find this an invaluable guide to a growing field.

This Element focuses on the historiography of Christian origins from the mid-19th century to the present. It argues that this historiography is shaped by two factors: the theories and ideas that prevailed in the historians' own eras; and the views about Jews and Judaism in predominantly Christian societies. In the mid-19th century, the Great Man theory, developed by Thomas Carlyle, fostered debates about which Great Man - Jesus or Paul - founded Christianity. In the late 19th century, evolutionary theory, especially as developed by Charles Darwin, helped shape narratives about the evolution of Christianity out of, or away from, Judaism. After 1945, Holocaust theory prompted historians to reconsider the implicit and explicit anti-Judaism of earlier views. From the late 20th century to the present, postmodern theory challenged metanarratives and binaries - such as Judaism/Christianity - and the very attempt to arrive at a comprehensive and linear account of Christian origins.

This Element focuses on the historiography of Christian origins from the mid-19th century to the present. It argues that this historiography is shaped by two factors: the theories and ideas that prevailed in the historians' own eras; and the views about Jews and Judaism in predominantly Christian societies. In the mid-19th century, the Great Man theory, developed by Thomas Carlyle, fostered debates about which Great Man - Jesus or Paul - founded Christianity. In the late 19th century, evolutionary theory, especially as developed by Charles Darwin, helped shape narratives about the evolution of Christianity out of, or away from, Judaism. After 1945, Holocaust theory prompted historians to reconsider the implicit and explicit anti-Judaism of earlier views. From the late 20th century to the present, postmodern theory challenged metanarratives and binaries - such as Judaism/Christianity - and the very attempt to arrive at a comprehensive and linear account of Christian origins.