The interview explores S. Brent Plate’s personal research journey into this relatively young field, charting the history of the field in the process. Discussion then turns to the key terms involved… what are we meaning by “religion and film”? The relationship of established “world religions” to cinema? Religion/s on Film? Documentaries? Critiques and Parodies? Religions that exist only in Film? Films as Religious Experiences? Audience reactions to film? Films as myth? Films as a modern form of religion? And so on…
Comic books frequently include alternative or heterodox religious ideas, something underscored by the fact that two of the most acclaimed writers working today (Alan Moore and Grant Morrison) are practising magicians, and their work frequently contains references to their practises.
The idea for this roundtable was that it would follow on directly from this week’s interview on religion and literature, but expand the discussion to cover a variety of points relating to narrative, autobiography and (auto)ethnography in the study of religion. Featuring Dr Wendy Dossett, Prof. Elaine Graham, Dr Dawn Llewellyn, Ethan Quillen, and Dr Alana Vincent.
How can studying literature help us to study religion? And what the question even mean? In this interview, Alana Vincent, Lecturer in Jewish Studies at the University of Chester, sets out some of the interesting intersections of these two fields. We can glean ethnographic or historical detail from literary works, and
“Wright (2007), for example, has suggested that, “the modern superhero is a contemporary manifestation of the ancient shamanic role” (2007:127). While Pedler has argued that, “Morrison’s mission […is] to make our reality as interesting as theirs, as surreal, full of every potential and possibility” (Pedler, 2009:264), making them, in effect, shamanic fictions.”
The majority of those who identified as a Jedi on the 2001 UK census were mounting a more-or-less satirical or playful act of non-compliance; nevertheless, a certain proportion of those were telling the truth. How does a religion constructed from the fictional Star Wars universe problematise how we conceptualise other religions, and the stories they involve? And what makes certain stories able to transcend their fictional origins and become myths?