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“The Eyes of All People Are Upon Us”

American Civil Religion and the Birth of Hollywood
  • Kris Jozajtis
Part of the Religion/Culture/Critique book series (RCCR)

Abstract

Although serious writing on religion and the cinema can be traced back at least as far as the late 1960s, with a considerable expansion having taken place over the last decade or so, this literature has, if truth be told, made little impact on the mainstream of either film and media studies or religious studies. Overwhelmingly theological in its orientation and based almost entirely on the analysis of films as “texts,” scholarship on religion and film and religion has grown into a lively subfield of its own, without ever really gaining the credibility of its parent disciplines.1 This is especially apparent in work on American culture, the world’s most important market for film production and reception.

Keywords

National Identity Motion Picture Civil Religion Protestant Church White Supremacism 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 3.
    The work of Stewart Hoover and associates is particularly important here. Introducing an important collection of essays, Hoover and Knut Lundby argue for a “more complex understanding” of “media, religion, and culture… as an interrelated web within society” (Stewart M. Hoover and Knut Lundby, eds., Rethinking Media, Religion, and Culture [Thousand Oaks: Sage, 1997], 3). For further developments see Stewart M. Hoover Religion in the News: Faith and Journalism in American Public Discourse (Thousand Oaks: Sage, 1998); David Morgan, Visual Piety: A History and Theory of Popular Religious Images (Berkeley: University of California Press, 1998)Google Scholar
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Copyright information

© S. Brent Plate 2003

Authors and Affiliations

  • Kris Jozajtis

There are no affiliations available

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