Clark J. Elliston – författare

Terrence Malick is one of the most important and controversial filmmakers of the last few decades. Yet his renown does not stem from box office receipts, but rather from his inimitable cinematic vision that mixes luminous shots of nature, dreamlike voiceovers, and plots centered on enduring existential questions. Although scholars have thoroughly examined Malick’s background in philosophy, they have been slower to respond to his theological concerns.

This volume is the first to focus on the ways in which Malick integrates theological inquiries and motifs into his films. The book begins with an exploration of Malick’s career as a filmmaker and shows how his Heideggerian interests relate to theology. Further essays from established and up-and-coming scholars analyze seven of Malick’s most prominent films – Badlands (1973), Days of Heaven (1978), The Thin Red Line (1998), The New World (2005), The Tree of Life (2011), To the Wonder (2012), and Knight of Cups (2015) – to show how his cinematic techniques point toward and overlap with principles of Christian theology. A thorough study of an iconic filmmaker, this book is an essential resource for students and scholars in the emerging field of religion and film.

Terrence Malick is one of the most important and controversial filmmakers of the last few decades. Yet his renown does not stem from box office receipts, but rather from his inimitable cinematic vision that mixes luminous shots of nature, dreamlike voiceovers, and plots centered on enduring existential questions. Although scholars have thoroughly examined Malick’s background in philosophy, they have been slower to respond to his theological concerns.

This volume is the first to focus on the ways in which Malick integrates theological inquiries and motifs into his films. The book begins with an exploration of Malick’s career as a filmmaker and shows how his Heideggerian interests relate to theology. Further essays from established and up-and-coming scholars analyze seven of Malick’s most prominent films – Badlands (1973), Days of Heaven (1978), The Thin Red Line (1998), The New World (2005), The Tree of Life (2011), To the Wonder (2012), and Knight of Cups (2015) – to show how his cinematic techniques point toward and overlap with principles of Christian theology. A thorough study of an iconic filmmaker, this book is an essential resource for students and scholars in the emerging field of religion and film.

Dietrich Bonhoeffers work has persistently challenged Christian consciousness due to both his death at the hands of the Nazis and his provocative prison musings about Christian faithfulness in late modernity. Although understandable given the popularity of both narrative trajectories, such selective focus obscures the depth and fecundity of his overall corpus. Bonhoeffers early work, and particularly his Christocentric anthropology, grounds his later commitments to responsibility and faithfulness in a "world come of age." While much debate accompanies claims regarding the continuity of Bonhoeffers thought, there are central motifs that pervade his work from his doctoral dissertation to the prison writings.

This book suggests that a concern for otherness permeates all of Bonhoeffers work. Furthermore, Clark Elliston articulates, drawing on Bonhoeffer, a constructive vision of Christian selfhood defined by its orientation towards otherness. Taking Bonhoeffer as both the origin and point of return, the text engages Emmanuel Levinas and Simone Weil as dialogue partners who likewise stress the role of the other for self-understanding, albeit in diverse ways. By reading Bonhoeffer through their voices, one enhances Bonhoeffers already fertile understanding of responsibility.