Theology, Religion, and Pop Culture – serie

This book discusses the G.I. Joe universe from religious and theological perspectives.Comprised of a wide-range of essays on G.I. Joe comics, toys, cartoons, and G.I. Joe as a brand, this edited volume reveals the G.I. Joe universe as a rich space for religious and theological inquiry. Across fourteen chapters, Peter Admirand and the collection's contributors consider this iconic universe from an interdisciplinary and global perspective, with chapters discussing subjects including political theology, ethics, postcolonial theology, and moral geography. Part One (G.I. Joe in Comics – From the 1940s to Marvel, IDW, and The Energon Universe) explores the content of the G.I. Joe comics, whereas Part Two (G.I. Joe as a Brand, Toy, and Cartoon) considers the brand as a whole and its afterlives within pop culture more broadly. The collection concludes with an interview with Rob Wisdom, who re-ignited interest and awareness of the 1960s UK version of G.I. Joe, and an Afterword by Diana Davis, who sheds light on the G.I. Joe universe from her experience working as a creative and research consultant on the G.I. Joe Skybound ARAH issues and IDW’s ARAH.

This book explores how the Spirit is represented in visual art, but also how the Spirit is at work in and through visual art, in all its forms. The volume editors and contributors engage visual art from the perspective of pneumatology to give theologies of culture fruitful new perspectives that begin with the Spirit rather than other common theological contact points. The book explores the Spirit’s role in art-making, looks at how the Spirit engages culture through the arts, and shows how the church has historically engaged the Spirit through visual art. Contributors ask how Christian convictions about and experiences of the Spirit might shape the way one thinks about visual art.

This edited collection invites fresh readings of play and storytelling in the Barbie movie (2023) through the lens of the Bible and theology. For Christopher B. Hays, Meghan R. Henning, and their contributors, the Barbie movie is more than pink and mojo dojo casa houses; they argue that the film offers a nuanced reflection of Biblical and theological ideas. The chapters herein analyze the cultural impact of Barbie on its own terms, critically engaging its explicit attempts to offer social critiques of capitalism, patriarchy, ableism, and racism. From exploring Ruth Handler as God, Barbie as both Jesus and a jezebel, and historical Judean “doll-like” figurines, this volume’s interdisciplinary interlocutors identify how Barbie depicts the stories we tell about ourselves, society, and God.

Prince was a spiritual and musical enigma who sought to transcend race and gender through his words, music, and fashion. Raised as a Seventh-Day Adventist and later going door-to-door as a Jehovah’s Witness, he expressed his faith overtly and allegorically, erotically and poetically. Theology and Prince is an edited collection on theology and the life, music, and films of Prince Rogers Nelson. Written for academics yet accessible for the layperson, this book explores Prince’s ideas of the afterlife; race and social justice activism; eroticism; veganism; spiritual alter egos (with a deep dive into the dark character of “Spooky Electric”); a queer listening of the Purple Rain album; the theology of the Graffiti Bridge film (featuring interviews with co-star Ingrid Chavez and other collaborators), and a story from Texas of a Christian worship service designed around Prince’s music in the wake of his passing. Those interested in theology and popular culture; scholars of social justice, racial identity, LGBTQ+ studies, and gender studies; as well as Prince “fams” will find new ways of viewing Prince’s old and new works.

Prince was a spiritual and musical enigma who sought to transcend race and gender through his words, music, and fashion. Raised as a Seventh-Day Adventist and later going door-to-door as a Jehovah’s Witness, he expressed his faith overtly and allegorically, erotically and poetically. Theology and Prince is an edited collection on theology and the life, music, and films of Prince Rogers Nelson. Written for academics yet accessible for the layperson, this book explores Prince’s ideas of the afterlife; race and social justice activism; eroticism; veganism; spiritual alter egos (with a deep dive into the dark character of “Spooky Electric”); a queer listening of the Purple Rain album; the theology of the Graffiti Bridge film (featuring interviews with co-star Ingrid Chavez and other collaborators), and a story from Texas of a Christian worship service designed around Prince’s music in the wake of his passing. Those interested in theology and popular culture; scholars of social justice, racial identity, LGBTQ+ studies, and gender studies; as well as Prince “fams” will find new ways of viewing Prince’s old and new works.

In Theology and the Marvel Universe, fourteen contributors examine theological themes and ideas in the comic books, television shows, and films that make up the grand narrative of the Marvel Universe. Engaging in dialogue with theological thinkers such as Willie James Jennings, Franz Rosenzweig, Søren Kierkegaard, René Girard, Kelly Brown Douglas, and many others, the chapters explore a wide variety of topics, including violence, sacrifice, colonialism, Israeli-Palestinian relations, virtue ethics, character formation, identity formation, and mythic reinvention. This book demonstrates that the stories of Thor, Daredevil, Sabra, Spider-Man, Jessica Jones, Thanos, Luke Cage, and others engage not just our imagination, but our theological imagination as well.

In Theology and the Marvel Universe, fourteen contributors examine theological themes and ideas in the comic books, television shows, and films that make up the grand narrative of the Marvel Universe. Engaging in dialogue with theological thinkers such as Willie James Jennings, Franz Rosenzweig, Søren Kierkegaard, René Girard, Kelly Brown Douglas, and many others, the chapters explore a wide variety of topics, including violence, sacrifice, colonialism, Israeli-Palestinian relations, virtue ethics, character formation, identity formation, and mythic reinvention. This book demonstrates that the stories of Thor, Daredevil, Sabra, Spider-Man, Jessica Jones, Thanos, Luke Cage, and others engage not just our imagination, but our theological imagination as well.

After Star Trek: Enterprise concluded in 2005, Star Trek went on hiatus until the 2009 film Star Trek and its sequels. With the success of these films, Star Trek returned to the small screen with series like Discovery, Picard, and Strange New Worlds. These films and series, in different ways, reflect cultural shifts in Western society. Theology and Star Trek gathers a group of scholars from various religious and theological disciplines to reflect upon the connection between theology and Star Trek anew. The essays in part one, “These are the Voyages,” explore the overarching themes of Star Trek and the thought of its creator, Gene Roddenberry. Part two, “Strange New Worlds,” discusses politics and technology. Part three, “To Explore and to Seek,” focuses on issues related to practice and formation. Part four, “To Boldly Go,” contemplates the future of Star Trek.

Scholars have been arguing for years that Star Wars is more than light sabers, Wookies, Millennium Falcons, and troubling familial relationships. Star Wars is an exciting space fantasy that we can explore from multiple academic perspectives, such as philosophy and psychology. This volume adds to that conversation by asking, “what would it look like if we analyzed the Star Wars universe theologically?” In Theology and the Star Wars Universe, contributors from various theological traditions take on this task by exploring the nature of the Force, the spiritual role of the Jedi, nonviolent and liberationist readings of the Franchise, and the enduring power of hope. Written for the restless, curious academic but accessible to diehard fans, Theology and the Star Wars Universe is an exciting foray into the study of theology and popular culture.

This book explores many of the theological and religious themes present in the Game of Thrones HBO television series and George R.R. Martin’s A Song of Ice and Fire novels. Written for academics yet accessible for the layperson, the chapters explore themes of power, religion, and sacred institutions in Westeros; Christian ecclesiology in the Night’s Watch and the religion of the Iron Islands; Augustinian notions of evil in the Night King and anthropology in the Seven; Orientalism, Hinduism, and the many worldviews in the World of Ice and Fire, and the series more controversial and disturbing themes of rape and death. Theology and Game of Thrones will appeal to theology and religious studies scholars and fans alike as it explores these elements in Martin’s complex fantasy epic.

This book explores many of the theological and religious themes present in the Game of Thrones HBO television series and George R.R. Martin’s A Song of Ice and Fire novels. Written for academics yet accessible for the layperson, the chapters explore themes of power, religion, and sacred institutions in Westeros; Christian ecclesiology in the Night’s Watch and the religion of the Iron Islands; Augustinian notions of evil in the Night King and anthropology in the Seven; Orientalism, Hinduism, and the many worldviews in the World of Ice and Fire, and the series more controversial and disturbing themes of rape and death. Theology and Game of Thrones will appeal to theology and religious studies scholars and fans alike as it explores these elements in Martin’s complex fantasy epic.

In this edited collection, Matthew Brake and Reverend Kimberly Hampton and their contributors argue that Marvel Studios' Black Panther was not only a cultural phenomenon but theologically rich. This volume considers Black Panther's role in the age of Black Lives Matter; Afro-Futurism and Theology; Black Panther, Mysticism, and Black Pentecostal Experience; Portrayals of African religion in Black Panther; Violence and Liberation: Echoes of Malcolm X and Martin Luther King in Killmonger and Black Panther.

In the first two seasons of the HBO series Westworld, human guests pay exorbitant fees to spend time among cybernetic Hosts—partially sentient AI robots—and live out often violent fantasies. In Theology and Westworld, scholars from a range of disciplines within religious studies examine the profound questions that arise when the narrative of Westworld interacts with the study of religion. From transhumanism and personhood to morality and divinity, this book contributes to, confounds, and challenges ideas that are found in the study of religion and philosophy. Taken together, the chapters further our understanding of what it means to live in a world where the hard questions of human existence are explored through the medium of popular culture.

Scholars of religion have begun to explore horror and the monstrous, not only within the confines of the biblical text or the traditions of religion, but also as they proliferate into popular culture. This exploration emerges from what has long been present in horror: an engagement with the same questions that animate religious thought – questions about the nature of the divine, humanity's place in the universe, the distribution of justice, and what it means to live a good life, among many others. Such exploration often involves a theological conversation. Theology and Horror: Explorations of the Dark Religious Imagination pursues questions regarding non-physical realities, spaces where both divinity and horror dwell. Through an exploration of theology and horror, the contributors explore how questions of spirituality, divinity, and religious structures are raised, complicated, and even sometimes answered (at least partially) by works of horror.

Scholars of religion have begun to explore horror and the monstrous, not only within the confines of the biblical text or the traditions of religion, but also as they proliferate into popular culture. This exploration emerges from what has long been present in horror: an engagement with the same questions that animate religious thought – questions about the nature of the divine, humanity's place in the universe, the distribution of justice, and what it means to live a good life, among many others. Such exploration often involves a theological conversation. Theology and Horror: Explorations of the Dark Religious Imagination pursues questions regarding non-physical realities, spaces where both divinity and horror dwell. Through an exploration of theology and horror, the contributors explore how questions of spirituality, divinity, and religious structures are raised, complicated, and even sometimes answered (at least partially) by works of horror.

Christianity was born in the midst of great expectation and fear about the world’s future. The existing Jewish paradigm of the coming Messiah, his antithesis, and the initiation of the coming age set the stage for Christian beliefs about the end of the current age. However, the unexpected death and resurrection of Jesus caused that paradigm to be reformed within the burgeoning Christian faith, reshaping hopes, and reworking old patterns. Dread and Hope explores the ways in which those old paradigms were challenged by Jesus’s death and resurrection, how the resulting eschatological landscape was understood within Christianity, and how modern popular culture has consumed and modified various components of Christian Hope. Joshua Wise examines how the central Christian eschatological themes such as the Antichrist, the Great Persecution, Heaven, and Hell have both been transformed and preserved in novels, television, films, and video games. Drawing on works such as 1984, Diablo, The Stand, What Dreams May Come, and the Fallout series, Dread and Hope considers how the human fears and desires shaped by Christian beliefs are expressed in popular culture.

This book focuses on debates surrounding the body, soul, and spirit, and addresses other aspects of theological anthropology in service to that angle.What unseen forces govern fictional settings across films, television, and print? Are the bodies they portray useless, evil, spirited, or maybe soulless? This book interrogates the body in examples like Avatar: The Last Airbender, Castlevania, Get Out, Pan’s Labyrinth, and Watchmen. While theological anthropology examines the body and soul, human agency, evil, and the image of God in reality, a new method of analysis, spirited anthropology, explores how these concepts operate in fictional worlds. From Captain America’s virtue and Clayface’s fluid body to Mike Myers’ evil shape and transcendence in virtual reality and digital avatars, world-building across media elevates, diminishes, redefines, and mutates the body. The book contends that these spirited anthropologies present worlds occasionally injected with politics and social concerns from this reality, regardless of how ghosts, aliens, or virtual simulations try to strange the matter on display in each story.

Progressive Rock, Religion, and Theology examines progressive rock music’s engagement with theology and religion, which spans an array of artists and songs from its early days to the present. Co-written by a musician and a professor of religious studies, this book looks closely not only at lyrics but at the music itself and how the two together serve to foster the exploration of religious and spiritual themes from a wide array of angles. Each chapter covers a key song by ELP, Yes, Genesis, Jethro Tull, Kansas, Rush, and Neal Morse as well as tracing the themes from those songs into other works by the same artist and the music of others. Readers will get to know music that is familiar to them through an academic lens, and will discover that its engagement with theological ideas, if not typically informed by study of academic theologians, is nonetheless at times both intellectually rigorous and profoundly insightful.

How can film and popular culture help us think through ecological crises in religious and theological terms?In this book, Brett David Potter contends that film can help viewers come to grips with the spiritual implications of living in this new epoch defined by climate crisis. Across eight chapters, Potter pairs ecological insights gathered from ancient religious stories and rituals with examples from contemporary Western films in the science fiction genre and beyond. By tracing religious and literary themes such as the tree of life, the great flood, the barren desert, and the revenge of the creatures, Potter asserts that the use of religious metaphor, imagery, and allegory remain prevalent within climate cinema. Providing particular attention to the visual and literary metaphors of apocalypse presented across Hollywood, and their origins within global faith communities, Potter asserts that religious narratives become a shared touchstone for how cinema imagines and depicts the end of the world. This prominence of religious imagery in Hollywood opens up key insights on the current role that religion and faith plays in our society and how viewers grapple with the realities of ecological and climate crisis.

In René Girard, Theology, and Popular Culture, fifteen contributors consider how Girard’s mimetic theory can be used to uncover and probe the theological depths of popular culture. Creative and critical engagement with Girard’s theory enables the contributors to offer fresh and exciting interpretations of movies (The Devil Wears Prada, Mean Girls, Star Wars), television (Hoarders, Cobra Kai), classical literature and graphic novels, and issues ranging from anorexia to social media. The result is a volume that establishes Girard as an innovative interpreter of culture and shows him as an invaluable guide for theologically reflecting on desire, violence, redemption, and forgiveness. Written in fresh and lively prose, the contributors demonstrate not only that Girard provides a powerful lens through which to view culture but also—and more provocatively—challenge readers to consider what popular culture reveals about them. Readers looking for an accessible introduction to mimetic theory and exploring its theological application will find this a welcome resource.

In René Girard, Theology, and Popular Culture, fifteen contributors consider how Girard’s mimetic theory can be used to uncover and probe the theological depths of popular culture. Creative and critical engagement with Girard’s theory enables the contributors to offer fresh and exciting interpretations of movies (The Devil Wears Prada, Mean Girls, Star Wars), television (Hoarders, Cobra Kai), classical literature and graphic novels, and issues ranging from anorexia to social media. The result is a volume that establishes Girard as an innovative interpreter of culture and shows him as an invaluable guide for theologically reflecting on desire, violence, redemption, and forgiveness. Written in fresh and lively prose, the contributors demonstrate not only that Girard provides a powerful lens through which to view culture but also—and more provocatively—challenge readers to consider what popular culture reveals about them. Readers looking for an accessible introduction to mimetic theory and exploring its theological application will find this a welcome resource.

Bob Dylan and the Spheres of Existence shows that existential questions lie at the heart of Bob Dylan’s songwriting—a point that will developed with the help of renowned Danish philosopher Søren Kierkegaard. One of the focal points of Kierkegaard’s authorship is the journey towards authentic selfhood. Famously, he thematizes this journey in terms of existential “spheres”—the aesthetic, the ethical, and the religious. Whereas the aesthetic involves a preference for immediacy, the ethical has to do with achieving a sense of personal identity by way of living for enduring commitments and values. Yet, higher than both of these stages is the religious, which initially concerns the immanent human quest for eternal life but, for Kierkegaard, ultimately comes to rest in God’s transcendent self-revelation in Jesus Christ. This book argues that Kierkegaard's theory can help us deepen our understanding of and relation to Dylan’s art. Just as Kierkegaard presupposes existential “movement” and transformation, so is Dylan celebrated for his shifting personae and philosophical variance. But this is not mere aesthetic dabbling on Dylan’s part. On the contrary, his diverse “masks” and voices encourage his audience to engage the worldview being presented, albeit in such a way that religious faith is identified as humanity’s source of ultimate meaning.

Batman is one of the most recognized and popular pop culture icons. Appearing on the page of Detective Comics #27 in 1939, the character has inspired numerous characters, franchises, and spin-offs over his 80+ year history. The character has displayed versatility, appearing in stories from multiple genres, including science fiction, noir, and fantasy and mediums far beyond his comic book origins. While there are volumes analyzing Batman through literary, philosophical, and psychological lenses, this volume is one of the first academic monographs to examine Batman through a theological and religious lens. Theology and Batman analyzes Batman and his world, specifically exploring the themes of theodicy and evil, ethics and morality, justice and vengeance, and the Divine Nature. Scholars will appreciate the breadth of material covered while Batman fans will appreciate the love for the character expressed through each chapter.

Theology and Spider-Man provides a look at the religious themes present in one of the most popular heroes of the past half-century, Spider-Man. In order to create a systematic theology of Spider-Man, the contributors delve into themes of sin, salvation, and creedal theology, while also addressing liberation theology, Black theology, bioethics, and hermeneutics. This volume balances theological depth with discussion of the comics and films, which makes it a perfect collection for those interested in theology, Spider-Man, or both.

Black Mirror, Netflix’s dystopian anthology, probes what it means to be human in a technological world. While the show raises interesting, if not disturbing, questions, it refrains from giving answers, putting the onus on viewers to continue the conversation. Accordingly, Theology and Black Mirror engages questions and prominent themes in the show with resources from the Christian tradition, including the academic disciplines of biblical studies, theology, philosophy, and ethics.

Sport is a major preoccupation of the modern world. It consumes the time and energies of millions of people around the globe. In fact, for many participants, it operates much like a functional equivalent of religion, giving them a way to interpret and understand the world. Sports stadiums are the cathedrals of our time. Sports stars are the saints or demi-gods through whom we access the transcendent. Members of the sports media serve as religious scribes, and sports fans are the worshiping faithful. What is true of sport is also true, more generally, of play. Nevertheless, and quite remarkably, Christian theologians and religious historians have been surprisingly slow to recognize the spiritual and cultural significance of sport and play, or to engage in the study of these concepts. This book attempts to redress that neglect by integrating sport and play with Christian faith and practice. In Sports and Play in Christian Theology, ten Christian scholars and practitioners explore sport and play from theological, biblical, historical, and pastoral perspectives. This rich collection of wide-ranging reflections and focused case studies will help readers locate sport and play within Christian faith and practice.

This work of theological film criticism provides an analysis of filmmaker Christopher Nolan’s entire filmography, from Following (1998) to Oppenheimer (2023).Though his films are noticeably lacking in representations of religion or references to God, Nolan’s postsecular cinema is nevertheless worthy of our theological consideration, as it contains valuable theological and philosophical insights. Indeed, this is the central claim of Theology and the Films of Christopher Nolan: Christopher Nolan’s films can and should be considered works of cinematic philosophical theology—they are doing theology and philosophy through the medium of film as they explore what it means to be human in relation to the transcendent. This book identifies the deep parallels and resonances between Nolan’s films and the works of philosopher Paul Ricoeur and theologian St. Augustine. Like Nolan’s cinema, Theology and the Films of Christopher Nolan is both intellectually stimulating and highly accessible, satisfying the interests of both scholars and popular audiences alike.

While still relatively unknown to the general public, early twentieth century American horror author H.P. Lovecraft left an indelible stamp upon popular culture. Images of tentacled horrors, forbidden tomes, and protagonists struggling against the insanity that comes with the revelation of the terrible truth of reality–Lovecraft pioneered all of these. Best known for his short story “The Call of Cthulhu,” Lovecraft instantiated his philosophy of cosmicism into every one of his tales. This collection of fourteen essays is the first sustained academic engagement with horror author H.P. Lovecraft from a theological perspective. Covering the major themes of Lovecraft's work such as nihilism, xenophobia, dark cults, and unimaginable horrors beyond the stars, the book is divided into five sections corresponding to each of the divisions of theology: biblical, historical, systematic, practical, and comparative. With responses ranging from admiration to critique, the contributors explore the dark uncharted regions of Lovecraft’s dark mythology in the service of theological truth.

This book argues that paranormal subjects like extraterrestrials, monsters, and spirits should be understood as serious forms of religious expression.Unfortunately, due to various forms of religious and cultural privilege, the paranormal is belittled, if not outright denied, in studies of faith and spirituality. Richard W. McCarty resists this turn, arguing that the paranormal is a form of religious belief. Moving beyond familiar, scholarly approaches, McCarty considers the paranormal through the lens of popular culture and folklore, delving into the representations of the monstrous across media. This book argues that encounters with UFOS, Mothman, or Bigfoot are proximate to, and should be taken as seriously as, run-ins with angels and demons within religious contexts. Across nine chapters, McCarty traces the history of the paranormal and cryptozoology within American popular culture. McCarty's extended discussions on UFOS, monsters, and spirits offers a unique insight into why some forms of supernatural belief are prioritized over others. In essence, this book wields popular culture and folklore to prioritize the experiences of those with paranormal experiences, no matter how monstrous.