Catholics in the Movies by Colleen McDannell

By Colleen McDannell

Catholicism was once all over the place motion picture monitors in 2004. Mel Gibson's The ardour of the Christ was once on the heart of a media firestorm for months. a clergyman used to be a very important personality within the Academy Award-winning Million greenback Baby. each person, it appeared, used to be conversing approximately how spiritual tales might be represented, advertised, and got. Catholic characters, areas, and rituals were inventory positive aspects in renowned motion pictures because the silent period. An intensely visible faith with a well-defined ritual and authority procedure, Catholicism lends itself to the drama and pageantry of movie. Moviegoers watch as Catholic visionaries engage with the supernatural, monks suggestions their flocks, reformers struggle for social justice, and bishops wield authoritarian strength. instead of being marginal to American pop culture, Catholic humans, locations, and rituals are all imperative to the area of the motion picture. Catholics within the Movies starts off with an introductory essay that orients readers to the ways in which motion pictures seem in tradition and describes the extensive traits that may be noticeable within the videos' hundred-year historical past of representing Catholics. each one bankruptcy is written by way of a famous pupil of yankee faith who concentrates on one motion picture enticing vital old, creative, and spiritual matters. every one then areas the movie inside of American cultural and social heritage, discusses the movie as an expression of Catholic matters of the interval, and relates the movie to others of its style. Tracing the tale of yankee Catholic background via well known movies, Catholics within the Movies could be a helpful source for somebody attracted to American Catholicism and faith and picture.

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V. the Industrial Commission of Ohio that the movies wereÑin effectÑmore like a hamburger patty than a book. The nationÕs highest court decided that the movies were a Òbusiness, pure and simpleÓ and thus could be regulated. Like meat they could be inspected for purity so that no one would be ingesting the equivalent of pig tummies or mice poop. State and city censorship boards were deemed to be constitutional. In 1922 the trade organization for movies, the Motion Picture Producers and Distributors of America, devised a way for Hollywood to circumvent the restrictions of a variety of censorship boards.

American Catholic Arts and Fiction: Culture, Ideology, Aesthetics. New York: Cambridge University Press, 1992. Greeley, Andrew. The Catholic Myth: The Behavior and Belief of American Catholics. New York: ScribnerÕs, 1990. Hill, John, and Pamela Church Gibson, eds. American Cinema and Hollywood: Critical Approaches. New York: Oxford University Press, 2000. Keyser, Les, and Barbara Keyser. Hollywood and the Catholic Church: The Image of Roman Catholicism in American Movies. Chicago, IL: Loyola University Press, 1984.

MaryÕs (1945). Sister Mary Benedict (Ingrid Bergman), who is playing the piano, exempliÞes the restrained independence of HollywoodÕs representation of Catholic nuns in the postwar years. Courtesy of the Academy of Motion Picture Arts and Sciences pendent spirit rather than facilitating it. This mold was cracking, however, even before the Second Vatican Council (1962—1965). As contributor Je‰ Marlett shows in his chapter on Lilies of the Field (1963), new relationships were being imagined by Americans, and nuns were used to explore the changes occurring between the races and the genders.

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