Theology

In the final lecture of this unit we looked at theology, the study of concepts of God. One of this weeks readings was that of ‘The Emancipated Spectator’ by Jacques Ranciere. Ranciere argues against the idea that the spectator is active, he argues that ““viewing is the opposite of knowing: the spectator is held before an appearance in a state of ignorance… it is the opposite of acting: the spectator remains immobile to her seat, passive”, he argues against the presumption that people read films in different ways, as to be a spectator means to be passive.

Andre Bazin was a french Catholic film critic and the founder of ‘Cahiers du Cinema’, he believed that ‘cinema has always been interested in God’, he suggests that films are not just mere spectacle for entertaining an audience but they hold deeper meanings within them which becomes open to the interpretation of different people. When looking at films in accordance to theological cinema it is the notion that audience members of different religions will look at a film in a certain way and read different things into the meanings, whereas an agnostic spectator would simply enjoy the film without questioning its deeper meaning. The difference in spectator can be separated between the secular spectator and the emancipated spectator; a secular spectator rejects religion in cinema and simply enjoys being entertained whereas the emancipated spectator reads a deeper spiritual meaning into the film.

This weeks screening was ‘Mirror’ (1975), interestingly in accordance with theological cinema I think it could be argued that due to its non linear plot the secular spectator would leave this screening slightly confused not knowing what exactly to understand from the film, whereas the emancipated spectator would create their own interpretations of the text and leave with reaffirmed beliefs. In this assumption I think it is safe to say I would fall into the category of secular spectator, as I found this film very hard to follow and understand due to its complex structure.

Sheila J. Nayer (2012) Chapter 5 “The Alphabetically Literate Contours of the Transcendental Style” of The sacred and the cinema: Reconfiguring the “Genuinly” Religious film. New York, Continuum pp.95-124
Mircea Eliade (1957, this edition 1987) Chapter 2 “Sacred Time and Myths” of The Sacred and The Profane:
The Nature of Religion. Orlando, Harcourt Inc. pp. 68-115.
Jacques Ranciere (2008) Chapter 1 “The Emancipated Spectator” of The Emancipated Spectator London, Verso pp. 1-24