Religion and cinema
from representation to expression
DOI:
https://doi.org/10.23925/1677-1222.2025vol25i1a1Abstract
The relationship between religion and cinema has constituted, since the emergence of the seventh art, a field of investigation that challenges disciplinary and methodological boundaries. In the context of Religious Studies, cinema has been approached predominantly as a medium of cultural representation of the religious phenomenon, functioning as a mirror of the beliefs, rituals, narratives, and symbols that structure different religious traditions.
This approach, anchored in paradigms of cultural hermeneutics and the critique of representation, has produced important contributions to understanding the presence and reconfiguration of religions in contemporary visual cultures (Plate, 2008; Lyden, 2019). However, by privileging the symbolic-narrative dimension of religion in cinema, one risks neglecting what we might call an "expressivity of the sacred," potentially immanent to the cinematic form itself as religious visual culture (Morgan, 2005).
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