The Spirit is Willing, but the Flesh is Weak: Embodied Transcendence and Sacred Spectatorship in The Robe (1953)
In this paper, I argue that the reintroduction of widescreen technology with the release of Fox's The Robe in 1953 promised spectators the ability to encounterthrough powerful, embodied immersionthe moment when historical time reached its fulfillment at Christ's death. However, the fact...
| Autor principal: | |
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| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Journals Online & Print: | Gargar...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publicado: |
Taylor & Francis
[2019]
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| En: |
Material religion
Año: 2019, Volumen: 15, Número: 3, Páginas: 347-368 |
| (Cadenas de) Palabra clave estándar: | B
The Robe (Película)
/ Transcendencia
/ Temporalidad
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| Otras palabras clave: | B
Epic
B CinemaScope B widescreen B Temporality B Affect B Corporificación |
| Acceso en línea: |
Volltext (Resolving-System) |
| Sumario: | In this paper, I argue that the reintroduction of widescreen technology with the release of Fox's The Robe in 1953 promised spectators the ability to encounterthrough powerful, embodied immersionthe moment when historical time reached its fulfillment at Christ's death. However, the fact that the material world continues to move inevitably forward makes it impossible to fully experience the escape from the material world that he represents. As such, the widescreen epic forces a confrontation with the very awareness of living in the stream of historical temporality from which it supposedly offers an escape, providing a deeply conflicted experience of time and history. |
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| ISSN: | 1751-8342 |
| Obras secundarias: | Enthalten in: Material religion
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| Persistent identifiers: | DOI: 10.1080/17432200.2019.1607058 |