The Cinematic Summoned Self: The Call of Christ in Martin Scorsese’s Silence

American filmmaker Martin Scorsese’s theologically imbued cinematic approach arguably reached its apotheosis in his 2016 film Silence, an adaptation of Shūsaku Endō’s 1966 novel. Through my theological film criticism, a novel constructive form of theologizing I call “theocinematics,” I propose that...

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Détails bibliographiques
Auteur principal: Mayward, Joel ca. 20./21. Jh. (Auteur)
Type de support: Électronique Article
Langue:Anglais
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Publié: Sage Publishing 2021
Dans: Pro ecclesia
Année: 2021, Volume: 30, Numéro: 4, Pages: 464-483
Sujets / Chaînes de mots-clés standardisés:B Silence (Film) / Ricœur, Paul 1913-2005 / Jesus Christus / Film / Théologie
Classifications IxTheo:CD Christianisme et culture
FA Théologie
KAJ Époque contemporaine
NBF Christologie
VA Philosophie
Sujets non-standardisés:B film theory
B Silence
B Paul Ricoeur
B Christology
B Martin Scorsese
B film and theology
B Michel Chion
B Hermeneutics
B Vocation
Accès en ligne: Volltext (lizenzpflichtig)
Description
Résumé:American filmmaker Martin Scorsese’s theologically imbued cinematic approach arguably reached its apotheosis in his 2016 film Silence, an adaptation of Shūsaku Endō’s 1966 novel. Through my theological film criticism, a novel constructive form of theologizing I call “theocinematics,” I propose that Silence is both a cinematic theology about vocation in its meditation on a fervent young priest’s discernment of the voice of Christ and Scorsese’s modus operandi par excellence—Silence is film as theology and filmmaking as vocation. In my analysis, I draw from philosopher Paul Ricoeur’s hermeneutics and his concept of “the summoned self” to provide a framework for an intersubjective divinely given vocation. I also attend to film theorist Michel Chion’s notion of the acousmêtre and its use in Silence to depict the summoning voice of Christ.
ISSN:2631-8334
Contient:Enthalten in: Pro ecclesia
Persistent identifiers:DOI: 10.1177/10638512211025007