Jonathan Edwards Goes to Movies: What Story Structure Teaches Us About Religious Affections

Part IV of 2017 Lenten Series: Why Lent is a More Like Moana than Monty Python
The inciting event presents the hero with a decision: Shall I continue in the relative comfort of my business-as-usual life, or risk pursuing a new and more dangerous goal?

by Gary David Stratton 

Something in Erin Brokovich compels her to radically devote herself to the townspeople of Hinkley, even at the expense of her own children.
Something in Erin Brokovich compels her to radically devote herself to the townspeople of Hinkley.

If by some miracle of time-travel you could suddenly transport 18th Century theologian Jonathan Edwards into the audience of your local cineplex tonight, he might very well declare the entire motion picture industry a work of witchcraft! (And he may very well be right.) Yet, a careful reading of America’s greatest theologian’s most important work, A Treatise Concerning Religious Affections, reveals insight into both the craft of screenwriting and the purpose of Lent. Both point to the importance of paying attention to “inciting events.”

The Inciting Event

Whether in real life or a work of fiction, most stories begin with a hero[1] pursuing largely self-centered goals designed to help them survive in their current circumstances. In Gladiator (2000) Maximus just wants to go home to his family and farm. In Star Wars (1977) Luke Skywalker desires only to get off the planet to be with his friends at school. Erin Brockovich (2000) seeks nothing more than a salaried job to feed her kids. Each lacks both the understanding and the desire to pursue anything beyond the struggles of their day-to-day life.

Then something happens; something screenwriters refer to as the inciting event. Suddenly, a new and bigger story crashes in upon the hero’s carefully constructed world. As John Truby notes in The Anatomy of Story, “At the beginning of the story, when weakness and need are being established, the hero is typically paralyzed in some way. You need some kind of event to jump-start the hero out of his paralysis and force him to act.”[2] Luke accidentally triggers a hidden distress video in the memory of a droid. Erin Brokovich discovers that Pacific Gas & Electric (PG&E) is poisoning Hinkley’s small town water supply.  Caesar unexpectedly commissions Maximus as protector of Rome in order to re-establish a true Republic. In each case, the inciting event presents the hero with a decision: Shall I continue in the relative comfort of my business-as-usual life or risk pursuing a new and more dangerous goal?

The entire story turns when (and only when) the hero makes this difficult choice. In fact, we don’t even have a story without such a decision. For instance, in The Blind Side (2009) hundreds of “Christian” parents drove past homeless teenager Michael Oher one cold November evening. Any one of them could have stopped to help. Only one did. Everyone faced the same event, yet only Leigh Anne Tuohy was incited by it. We tell her story because she acted.[3] This is why most screenwriters refer to the hero’s decision to act in response to the inciting event as plot point one.  Why? Because without that decision you don’t have a plot. You don’t have a story at all.

Affections

This is where Edwards’ thought becomes helpful. According to Edwards, our soul is composed of two primary parts: our mind (including both our perceptions and our understanding of those perceptions), and our heart. Our heart is that aspect of our inner being that attracts us toward some people, ideas, or actions and repels us from other people, ideas, and actions.

When our heart’s attraction towards a particular person, idea, or action is particularly strong, Edwards labels these powerful inclinations as our affections. To Edwards, affections are “the moving springs in all the affairs of life, which engage men in all their pursuits; and especially in all affairs wherein they are earnestly engaged, and which they pursue with vigour.”[4] They are the hidden internal reasons why we choose to love some people and not others, to believe some ideas and not others, and take some actions but not others.

Victory in hand, Maximus just wants to go home to family and farm, until Caesar's inciting event changes everything.
With victory for the empire in hand, Maximus just wants to go home to family and farm . . . until Caesar’s inciting event changes everything.

This makes our affections an extremely important element of any great story. When the hero answers their story question in the affirmative it reveals something deeper in the their soul than any casual observer could notice. Something in Erin Brokovich (compassion? justice?) compels her to radically devote herself to the townspeople of Hinkley, even at the expense of her children (for whom she originally took the job.) Something in Maximus (duty? nobility?) drives him to accept Caesar’s commission, even though it means delaying a comfortable retirement with his wife and son.

Something in the inciting event reveals the hero’s genuine affections. While this single experience never completely transforms the hero–numerous temptations to give up or turn back will come later–something in the inciting event causes them to take their first step of their journey away from a mere longing for comfort and convenience and into something deeper. They want something more and are willing to take action to pursue it.

Awakening or Transformation?

This motivating drive could be an affection that was always present, but “woke up” only when confronted with the inciting event. For instance, in J.R.R. Tolkien’s The Hobbit, Bilbo’s inciting event is an unexpected party of singing Dwarves inviting him to join their quest:

“As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him, a fierce and jealous love, the desire of the hearts of the dwarves. Then something Tookish woke up inside him, and he wished to go and see the great mountains, and hear the pine-trees and the waterfalls, and explore the caves, and wear a sword instead of a walking-stick.”[5]

It takes a bit no longer for him to act, but soon he is running down the road without so much as a handkerchief in his pocket.

Other times, something in the inciting event itself changes the hero’s heart. For instance, in Steven Spielberg’s Close Encounters of the Third Kind (1977), a chance encounter with an alien spacecraft implants Roy Neary with both vivid images of The Devils Tower in Wyoming as well as the insatiable desire to go there.[6] In Cecil B. DeMille’s 1956 epic The Ten Commandments, God not only incites Moses to return to Egypt to free his people, he transforms Moses’ affections (and even his appearance) as well.[7]  Paul’s conversion on the road to Damascus in Acts 9, is perhaps the ultimate inciting event in the New Testament. His zeal for God is both revealed and transformed by the voice from heaven.

In both inciting event types the hero is confronted with a choice before the story can even begin. As über screenwriting guru Robert McKee declares:

“True character is revealed in the choices a human being makes under pressure – the greater the pressure, the deeper the revelation, the truer the choice to the character’s essential nature.”

Obviously, the inciting event is only the beginning of this revelation and transformation, but it is crucial to writing (and living) a great story.

We Are What We Do

This is where Edwards’ thought becomes interesting not only for screenwriters, but for anyone seeking to deepen their relationship with God. Edwards rejects the commonly held notion that our affections and our will are two separate components of our inner being, so that our affections might want one thing, but our will chooses another. Not so, says America’s greatest theologian. “Such seems to be our nature, and such the laws of the union of soul and body, that there never is in any case whatsoever, any lively and vigorous exercise of the inclination, without some effect upon the body…”[8] In other words, while we often profess belief in one direction and act in another, or feel we ought to act one way and then do the opposite, our actions alone reveal the true affections of our heart and mind. We do what we love.

Edwards therefore insists that genuine faith . .

“[C]onsists, in a great measure, in vigorous and lively actings of the inclination and will of the soul, or the fervent exercises of the heart. That religion which God requires, and will accept, does not consist in weak, dull, and lifeless wishes, raising us but a little above a state of indifference. God, in his word, greatly insists upon it, that we be in good earnest, fervent in spirit, and our hearts vigorously engaged.”[9]

Lenten Examination

"Then something Tookish woke up inside him..."
“Then something Tookish woke up inside him…”

This is why Lent can be so transformative. The season is designed to help us examine the gap between our professed faith and our lived belief, between our creed and our lifestyle, between the things we tell ourselves we are passionate about and our true motivations revealed by our actions. Jesus instructed his followers, “You will know them by their fruits.”[10] And Edwards reminds us that Jesus viewed most important fruit as a love of God expressed in sacrificial service on behalf of others. “This is my command that you love one another as I have loved you… For even the Son of Man did not come to be served, but to serve and to give us life for others.”[11]

The practice of (and not the mere tip of the cap to) sacrificial service reveals the presence of the greatest and highest affection of all: love of God and others for God’s sake. Why? Because much of what passes for religion seems motivated by little more than a self-centered desire to survive in our current circumstances. However, the decision to give up your life in sacrificial service of others is rarely motivated by anything except genuine spiritual affections. In essence, Edwards is saying, if you want to see who the true heroes are around you, don’t look for the most religious, or the most famous, or the most published. Look for those who love

Lent then is a season for honestly asking myself if I might be missing inciting events to love and serve that are happening all around me: a homeless teenager who needs shelter, a town that needs an advocate, a political system that needs reforming, a social injustice that needs a champion. Perhaps they are more than the mere random events. They could be God’s call to wake up and enter our true story. Our true affections are revealed only in our responses to these inciting events that dare us to ask: Shall I continue in the relative comfort of my business-as-usual life or risk pursuing a new and more dangerous goal?

Any screenwriter could tell you that.

Next: The Volcano in Your Backyard: Micro-Worldviews and the Honeymoon from Hell

 


[1] Or, ‘Main Character,’ as some main characters are clearly not heroic.

[2] 22 Steps to Becoming a Master Storyteller (p. 276). Faber & Faber. Kindle Edition. (2008-10-14).

[3] This is not to say that sometimes a hero requires numerous inciting events to jar them into action. For instance, Luke learning that a beautiful princess needs rescue, that his father was really a Jedi fighter pilot, or even that a Jedi master needs his help, isn’t enough to overcome his earth-bound (er, Tatooine-bound) inertia. It is only after imperial Stormtroopers kill his aunt and uncle that he finally decides to go with Obi-wan to Alderaan and, “Learn the ways of the force like my father.”

[4] Edwards, Jonathan (1745) A Treatise Concerning Religious Affections (In Three Parts) (Kindle Edition, 2011) Locations 332-333.

[5] The Fellowship of the Ring (Boston: Mariner books, 2012), p. 83. (Italics mine.)

[6] This same alien transformation motif is also subtly evident in Spielberg’s more famous E. T. The Extra-Terrestrial  (1982).

[7] Actually, in this nearly four-hour long epic, one could argue that Moses transformation is the midpoint of the film. However, in the biblical account, Moses’ encounter with THWH at the burning bush is clearly the inciting event for his personal journey at the Exodus itself.

[8] Affections, 270-271.

[9] Ibid., 297-300.

[10] Matthew 7:16

[11] John 15:12, Mark 10:45

Emmy Magazine’s Interview with Kurt Schemper, Korey Scott Pollard, and Gary David Stratton

SERIES INTRO: Soul-Nourishing Practices in a Soul-Deadening World

“The entertainment industry is no different than any other place with lonely people searching for gladness.”  -Emmy Award-winning producer, Kurt Schemper

by Gary David Stratton, PhD • Senior Editor

Emmy Magazine isn’t the most likely place for insight into spiritual formation.

“A writer for Emmy magazine is on the phone for you.” At first I thought our PR director was pulling my leg. College professors don’t get calls from Emmy magazine, even if they are moonlighting as the Executive Director of a community of Christian entertainment industry professionals seeking to train and equip storytellers to enter mainstream Hollywood.  Act One had been in existence for over a decade and even though we had graduates writing, producing, and directing on numerous TV shows and more than a few feature films, no entertainment industry press had ever called our offices before.

Kurt Schemper changed all that.  A producer for A&E’s critically acclaimed reality program, Intervention, Kurt had just become the first Act One graduate to win a prime time Emmy Award. The writer on the phone, Libby Slate, was fascinated by Kurt’s connection to a Hollywood Christian community. But, what really impressed her was how the Act One community had lived out our faith by rallying to aid former staff member Rosario Rodriguez after her gang-related shooting while walking in the tawny L.A. neighborhood Libby called home. (Read story here.)

Libby wanted to know if Emmy could do an article highlighting Kurt and Act One’s unique mission in Hollywood.  Kurt and I readily agreed, and director Korey Scott Pollard (House, Grey’s Anatomy, Monk, Nashville, Rizzoli and Isles, Lie to Me, The Middle, Jack Ryan) signed on to represent the Act One faculty perspective.

Kurt posing with his new hardware.

As Kurt, Korey and I prepared for our interview, Korey pushed for us to be ‘really ready’ to express exactly what we wanted to say. Our conversations turned to how difficult it is to thrive spiritually in Hollywood, and interviewer Libby Slate graciously picked up on this theme.

In the course of our conversations Kurt mentioned that one of his college professors at Judson College encouraged him to pursue his calling to Hollywood by quoting Frederick Buechner:

“The place God calls you to is the place where your deep gladness and the world’s deep hunger meet.”

Kurt’s response was, “My deep gladness is Jesus. The entertainment industry is no different than any other place with lonely people searching for gladness.”

The idea of finding “deep gladness” in Hollywood really resonated with me, especially as I contemplated what a “soul-deadening” place Hollywood can be for many industry insiders. So in my interview, I told Emmy, “We’ve found that the spirituality taught by Jesus is an ideal starting place for guiding industry professionals on a soul-nourishing spiritual journey.”

That language resonated with Emmy readers as well, and soon opened doors all over Hollywood. Now it leads to this new series entitled, “Soul-nourishing Practices for a Soul-deadening world: Finding the Voice of Your Own Gladness in Hollywood and Beyond.”

My hope is that these posts will help filmmakers, educators and other culture makers find their own “deep gladness” through the soul-nurturing practices Jesus taught his first followers over 20 centuries ago. Not mere religious practices targeted at greater self-righteousness, but spiritual practices targeted at nurturing a deeper connection to God.

We officially launched the series earlier, but today I thought you might want to read the original Emmy article. (I couldn’t figure out how to post it directly, so you’ll have to download the article as a pdf.)  Enjoy!

Click to download Emmy Magazine Article PDF

 

NEXT:  Connecting to the Life of God in Hollywood, the Ivy League, and Beyond – Soul-Nourishing Practices in a Soul-Deadening World

Andrew Garfield on the Ignatian journey that led him through ‘Silence’ and into the love of Christ

“What was really easy was falling in love with this person, was falling in love with Jesus Christ. That was the most surprising thing.” -Andrew Garfield

The experience of falling in love with Jesus was most surprising, perhaps, because Garfield, like many people, came to the Exercises asking for something else…

Read the complete article in America

2016 Movies and TV Reflect Americans’ Changing Relationship with Faith, by Alissa Wilkinson

From Sausage Party to Silence, it was a banner year for religion onscreen.

by Alissa Wilkinson in Vox @alissamariealissa@vox.com

Religion, doubt, and the conflict of cultures is a major theme in Martin Scorsese’s SILENCE

I started 2016 as chief film critic at Christianity Today and ended it on staff here at Vox. Religion and pop culture has been my beat for a long while. So it’s not surprising I spot it around every corner.

But even by my heightened radar’s standards, 2016 feels like a banner year for onscreen treatments of religion. I don’t mean what we’ve come to consider “Christian movies,” though there were a few of those, most notably the moderately commercially successful God’s Not Dead 2 and the crashing box office failure Ben-Hur (executive produced, by the way, by Mark Burnett of The Apprentice). “Christian films” are made for a sizable but still niche market and bent to the tastes of that segment: biblical or inspirational tales, or (in the case of the God’s Not Dead franchise) legends of the culture wars. They’re meant to preach to — or shore up — the choir.

“Christian movies” had their most recent heyday in 2014 and 2015 and seem to be tapering off, at least in terms of box office returns. But 2016 belonged to a different kind of onscreen religion, aimed at mainstream audiences. In 2016, films and TV shows that portrayed religion — organized or not — were less interested in preaching or caricaturing and more in exploring how faith and (especially) doubt fit into the frameworks of people’s lives today.

Religion showed up onscreen in everything from dark, gritty dramas to dirty animated fables

2016 started with the Coen brothers’ Hail, Caesar, a comedy about competing ideologies (Hollywood capitalism, Marxism, and Christian faith) that is explicitly modeled on a passion play.

George Clooney in Hail Caesar
In the Coen brothers’ HAIL CAESAR, George Clooney played a Roman centurion in the film-within-a-film.

And now the year is ending with Martin Scorsese’s Silence, perhaps the most stirring, perceptive film about belief and doubt in decades.

The months between yielded movies about pluralism and agnosticism (Sausage Party), the mysterious, doubtable supernatural (Midnight Special), and entering and escaping cults (Holy Hell). In The Birth of a Nation, the Bible acts as impetus for violent action in pursuit of justice; in Hacksaw Ridge, it motivates nonviolence and heroism.

Jane the Virgin
Jane the Virgin has frequently built characters’ faith into its stories.

In A Quiet Passion (which played at festivals in 2016 and will open in theaters next year), Terence Davies uses Emily Dickinson’s life to plumb the space that might best be described as believing unbelief. The Witch artfully poses a conflict between stringent Puritan faith and witchcraft in colonial New England. Knight of Cups positioned its narrator on the road to faith (modeled explicitly on both tarot and Pilgrim’s Progress). The documentary The Illinois Parables reads the complicated matter of religion and historical conflict into the landscape of Illinois. In Queen of Katwe, a Christian missionary brings opportunity to illiterate children in the slums he came from.

Beyoncé’s magnum opus Lemonade explicitly drew on religious imagery in its proclamation of freedom for its creator and women like her. The Innocents, like Silence, grapples with faith cracked by doubt in the face of unthinkable violence to the bodies of the devout — in this case, the brutal rape of nuns.

That Christianity is the organized belief system of interest in most of these projects isn’t surprising. They’re mostly American productions, and Christianity is still the dominant religion practiced in America — though I suspect that onscreen organized religion will expand in the next few years to include a higher number of serious treatments of Judaism, Islam, and other religions.

Still, attentive moviegoers could have caught Under the Shadow, a stellar Iranian political horror film, which borrows on concepts from Islamic folklore to explore the fallout from the Iran-Iraq War. And Tikkun, an Israeli horror film, navigated the complexities of bodies and souls in contemporary Orthodox Judaism.

Meanwhile, on TV, Rectify (about guilt, forgiveness, and redemption in small-town America) and The Americans (about religion as a competitor to nationalist ideologies) topped critics’ lists, while The Path and Unbreakable Kimmy Schmidt looked at the complicated reasons people enter, leave, remain in, and recover from oppressive systems of belief.

The Path
Michelle Monaghan and Hugh Dancy in The Path, Hulu’s show about a cult called the Meyerists. Hulu

For a pretty goofy show, Lucifer featured a surprisingly nuanced account of evil and fate, while on Daredevil, Matt Murdock’s Catholicism is a central part of his character. Preacher took as its starting point the conflation of pastorly authority and possession by something evil. On both Jane the Virgin and The Jim Gaffigan Show, Catholic faith is also part of characters’ identities and influences the decisions they make.

While Black-ish usually treats Grandma Ruby’s (Jenifer Lewis) outspoken religion as just one of her wacky character details, it nonetheless has aired several episodes dealing with the role of church and belief in God in its larger exploration of black identity in America. The Night Of portrays American Muslims whose character arcs aren’t just a vehicle for a story about terrorism or war. Crazy Ex-Girlfriend’s Josh Chan (Vincent Rodriguez III) regularly consults his friend, the cool, collar-wearing minister Father Brah (Rene Gube). And Transparent — which has been called “the most Jewish show on television” — features a rabbi among its main cast.

This isn’t even an exhaustive list — that would be impossible to compile — and leaves out a lot of what’s happening in genres like horror and in independent and niche film. But as close watchers of the industry can attest, these certainly constitute an observable uptick in religiously oriented content for mainstream audiences.

Religion is part of characters’ identities in 2016, but not their only defining feature

It’s too early in this groundswell to sort out exactly why or how this happened in 2016. It can’t really be attributed to the US election — most of these movies and shows were finished or in development before the race even took shape. But there are some commonalities worth noting.

One notable trend is a growing interest in taking religious belief to be part of, but not the entirety of, a character’s identity. In other words, religious characters are growing more complex.

Aden Young as Daniel Holden in Rectify
Aden Young in Rectify, one of the most religion-soaked shows on television. Sundance

Religion has at times operated as a negative character-defining trait in onscreen stories: Sometimes the religious character’s faith is played off as just a quirk or an outright flaw, a writing shorthand for being bad, weak, hypocritical, or strange. (Think of Angela in the early seasons of The Office, Shirley Bennett on Community, or Vice President Sally Langston on Scandal.) But Rectify, The Americans, Daredevil, Jane the Virgin, The Night Of, Transparent, and The Jim Gaffigan Show, among others, all have characters who are religious, but who say and do lots of things that aren’t explicitly tied to their faith. They aren’t trotted on to be the token clergy or judgy friend; they’re just people who go to church and believe in God, and also have other interests, views, and friends. Their faith is one among many defining traits, but one that is ever-present (as opposed to, for instance, Agent Dana Scully on The X-Files, whose Catholicism seemed to crop up only when it suited the story).

These sorts of characters can be hard to write for a mainstream audience, because fleshing them out often requires personal experience that busts up easy stereotypes. A sort of prototypical religious character, Studio 60 on the Sunset Strip’s Harriet Hayes, was based on creator Aaron Sorkin’s real-life ex-girlfriend, the outspoken Christian Kristin Chenoweth; another Sorkin character, the very Catholic President Jed Bartlet from West Wing, also belongs to this category. We especially see this in TV — most writers’ rooms aren’t noted for their diversity, and sometimes religion has been pretty one-note on screen. And flatly written secondary characters have a way of standing out more starkly in TV’s longform storytelling.

But perhaps recognizing that a myopic view of religious people results in underwritten characters, many shows have developed the sense that, as with gender or race, a character’s religion is part of their identity, one in a series of overlapping layers. A white Southerner’s Christianity looks different from that of a Catholic comedian living in New York City or a black marketing executive in Southern California. Not all Muslims look like they do on Homeland. Religious people look, sound, and act differently from one another. Their political and social views may differ. Even if they belong to an organized religion, the way they express and live that faith is unique.

The Innocents takes place in a Polish convent during World War II.
The Innocents takes place in a Polish convent during World War II.

In her film The Innocents, French director Anne Fontaine elected to dramatize a spectrum of faith in characters that on first blush look very much alike: a group of Polish nuns who, during World War II, are raped by a group of passing Russian soldiers. When the film begins, a French Red Cross doctor (who is an avowed atheist, a fact that does not change throughout the film) is called to the convent, where she discovers that many of the nuns are in advanced stages of pregnancy.

It’s tempting to see a convent full of nuns as a homogeneous group: all Polish women, living together, having taken the same vows, following the same rituals together every day, professing the same belief, experiencing the same violence. But The Innocents recognizes that women have individual responses to severe trauma, and their responses are complex and different from one another. It’s a remarkable exploration of shades of belief and doubt rooted in the different ways that different people internalize and express faith.

Some religious storylines incorporate the supernatural, to great effect

Another striking trend in onscreen religion showed up in two places in 2016: Jeff Nichols’s film Midnight Special and the Hulu TV series The Path, something echoed in the HBO drama The Leftovers (which aired the final episodes of its second season in December 2015 and will premiere its third season in 2017)…

Continue reading on Vox

 

See also:

I’m a Christian and I Hate Christian Movies, by Alissa Wilkinson

The Americans
The Jenningses in The Americans. FX

 

I’m a Christian and I Hate Christian Movies, by Alissa Wilkinson

Part of ongoing series: The Future of Faith-Based Filmmaking

Some of the most popular faith-based movies today aren’t just sub-par entertainment — they’re anti-Christian.

by Alissa Wilkinson

We need more depictions of complicated, interesting Christian characters and media that explores difficult, complicated matters of belief. GND2 is anything but.
We need more depictions of complicated, interesting Christian characters and media that explores difficult, complicated matters of belief. GND2 is neither.

It’s a frustrating time to love movies and God. As a lifelong evangelical and a Christian film critic, I’m constantly alerted to the next faith-based movie. You know, your near-death experience drama, your Kirk Cameron vehicles, your God’s Not Dead franchise (see “part two” in theaters this week!) — “Christian films. Which, for someone who turns to movies for a dose of culture, often look like a pile of cheap cash-ins that make me break out in hives.

Hollywood’s definition of the “faith audience” boils down to churchgoers, often Evangelical Protestants, well enough off to afford a night at the movies, interested in inspirational Biblical adaptations and movies about heaven, family, and genial, good neighbors, and highly critical of any sexuality or bad language. If you’re not devout, you probably miss these movies entirely. But they’re a big business: in the last three years, low-budget Christian-themed films have earned over $445 million at the US box office.

A lot of these are basically well-intentioned kitsch, innocuous in the manner of a lousy conventional rom-com or inept indie drama. But they can be worse than that. I can excuse (or ignore) a poorly made movie. But some of the most popular faith-based movies today aren’t just sub-par entertainment — they’re anti-Christian.

Continue reading

Alissa Wilkinson is critic at large for Christianity Today, an assistant professor of English and humanities at The King’s College in New York City, and usually a pretty sunny cinematic omnivore. Follow her weeks-late TV tweets and exhausted festival updates at @alissamarie.

See Also

Current Films by Act One Graduates Reveal Strange Dichotomy in Box Office Mojo’s ‘Christian Movie’ Category

Why Evangelical Films Fail, by Peter J. Leithart

The Future of Faith in Film? Youth and Evangelicals Outstrip All Other Movie-going Audiences, by David Kinnaman

The Blind Side Leading the Blind: Better Faith-Based Filmmaking by Living Better Stories

Thirty Favorite Christmas Movies and TV Specials

We compiled our list from Stratton family favorites and suggestions from the Two Handed Warrior community. Did we miss your favorite?

by Gary & Sue Stratton

If the stable teaches us anything it’s that you can’t always judge a Christmas classic by its humble beginning. The highest-rated Christmas movie of all time, It’s a Wonderful Life, was known as Frank Capra’s greatest failure until countless TV reruns brought it back to life.  CBS executives nearly killed the most-watched Christmas special of all time, A Charlie Brown Christmas, because they feared it was too ‘sacred.’  With a worldwide audience of over 2 billion, the BBC calls Jesus (1979)  “the most watched movie” of all time, yet most Americans have never heard of it. The most-watched opera in television history, Amahl and the Night Visitors, may never recover its audience after a tiff between composer Gian Carlo Menotti and NBC kept it off the air for over three decades.

So Sue and I put together our own list of favorites in hopes of inspiring your search for true greatness. Some are well-known. Some are secret treasures. We categorized the films/shows between those with a more-or-less ‘sacred’ view of Christmas (focused more on the birth of Jesus), and ‘secular’ offerings (focused more on Santa Claus). Then we listed them chronologically within each group.

We hope they inspire as much holiday cheer in your household as they do in ours.

Merry Christmas!

Gary & Sue

 

GREAT Films with a More (or Less) ‘Sacred’ View of Christmas

A Christmas staple Menotti's 'Amahl and the Night Visitors' is worth finding in a local live performance or the original video
The most viewed opera in TV history, Menotti’s powerful ‘Amahl and the Night Visitors’ is well worth the search to find it

It’s a Wonderful Life (1946) Frank Capra’s masterpiece is not just a great Christmas movie, both the WGA  and AMI list it as one of the twenty best films ever made.

Amahl and the Night Visitors (1951) Gian Carlo Menotti’s most popular opera was originally written for NBC as a one-hour Christmas Eve TV broadcast. Find a local live performance if you can, but the hilarious and inspiring original is also available on DVD.

Charlie Brown Christmas (1965) Charles Schultz’s enduring glimpse at Charlie Brown’s search for the true meaning of Christmas. CBS feared it was ‘too sacred’ for prime time.

The Nativity (1987)  This Hanna-Barbera Greatest Adventures of the Bible video is hard to find, but worth it for your kids. We found a couple of YouTube links, but, uh …they might be bootleg.

The Nativity Story (2006) Not everything you’d hope it would be, but does a marvelous job of capturing the incredible faith (and sacrifice) of Mary and Joseph.

 

GREAT Films with a ‘Sacred’ View of Christmas as Part of  a Larger Movie

078nativity
Zeffirelli’s Juliet (Olivia Hussey) makes a breathtaking Mary in Jesus of Nazareth

Ben-Hur (1959) At least one wise man continues his search for Jesus as Charlton Heston’s title character strives to put his life back together after profound betrayal. Also, on the AMI list of best films ever made. As an added plus, that chariot scene can really get you in the mood to face Christmas traffic.

The Greatest Story Ever Told (1965) Jean Negulesco directed this understated and haunting Nativity sequence.

Jesus of Nazareth (1977) Franco Zeffirelli’s masterful TV mini-series. Incredibly complex and textured. Get Episode 1 for the Nativity scene.

Jesus (1979) A clear and compelling account of the birth of Christ from the Gospel of Luke. Our normally chatty group of friends didn’t speak for a full hour after watching it together.

The Gospel According to Matthew (1996) The Visual Bible‘s straightforward retelling of the birth of Christ from Matthew’s perspective. Watching Luke (Jesus, 1979) and Matthew’s narrative back-to-back creates a marvelous disequilibrium. Throw in the prologue from The Gospel of John (2003), with LOST’s Henry Ian Cusick as Jesus, to complete a remarkable Christmas trifecta.

 

GOOD Movies with a ‘Sacred’ View of Christmas

Bill Murray at his comedic best
Bill Murray at his comedic best

A Christmas Carol (1951) When you hear them singing The Most Wonderful Time of the Year in the Mall, you know it’s time for “scary ghost stories.”  You don’t get any scarier than the original adaptation of this “Dickens Horror Picture Show.”

Scrooged (1988) A snide and cynical take on Dickens tale with the inimitable Bill Murray as Scrooge himself.

The Muppet Christmas Carol (1992)  Kermit, Miss Piggy, Gonzo, and the gang in an offbeat, but faithful retelling of Dickens’ classic.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) Okay, it’s cheating a bit, but there is a Christ figure, and a Christmas, and presents, and everything. Just don’t let the White Witch hear you talking about it.

Silver Bells (2013) When a scuffle with the ref at his son’s basketball game lands an ambitious television sportscaster in serious trouble he finally encounters the true meaning of Christmas.  Act One graduate Andrea Gyertson Nasfell‘s third Christmas movie, after Christmas with a Capital C (2011) and Christmas Angel (2012), not to mention her 2014 hit Mom’s Night Out.

 

GREAT Films with a “Secular” View of Christmas

A Christmas Story ( ) somehow manages to hit the mark with holiday perfection
A Christmas Story (1983) somehow manages to hit the mark with holiday perfection

Miracle on 34th Street (1947) Classic, “Do you believe in something you can’t prove” premise.  Many remakes, none come close to the original.

White Christmas (1954) Not much Jesus (or Santa), but a wonderful tale of friendship and loyalty. We watch it every year as it chokes us up every time.

A Christmas Story (1983) I don’t know why we all get such a kick out of this admittedly B movie.  A pitch-perfect coming-of-age story surrounding the hopes and fears of a nine-year-old boy. Just don’t shoot your eye out.

How the Grinch Stole Christmas (1996) and How the Grinch Stole Christmas (2000) Both the television classic and Jim Carrey’s (over the top) psycho-drama-remake are well worth an evening. “I’m feeling!”

Elf (2003) Perhaps  Will Ferrell’s best movie. The story of Buddy the Elf is an irresistible recasting of the Santa story.  Zooey Deschanel‘s sterling role doesn’t hurt one bit.

 

GOOD Films with ‘Secular’ View of Christmas

Tim Allen featured in Bill O'Reilly's new book, Killing Santa
Tim Allen to be featured in Bill O’Reilly’s new book, Killing Santa?

Christmas in Connecticut (1945) A New York food writer’s personal brand as the perfect housewife is in danger of being exposed as a sham when her boss invites a returning war hero for a traditional family Christmas at her home in Connecticut. Only one problem, she doesn’t have a home in Connecticut.

Christmas Vacation (1989) Didn’t get enough of Chevy Chase on Community? This is the movie for you. The Griswold family’s big Christmas turns out to be “nuts’?

Home Alone (1990) A zany battle against the world’s least scary criminals. It made the list this year because so many THW conversation partners mentioned how the strangely moving church scene (which wasn’t even part of the original script) added much needed gravitas to the moral premise of a very silly movie.

Prancer (1989) A bittersweet, but poignant tale of loss and redemption. One girl’s desperate faith changes her life and her father.

The Santa Clause (1994) Can you be drafted into the ranks of Father Christmas? Apparently, yes. Tim Allen’s best role since Home Improvement.

 

GREAT Films set During the Christmas Season (but, uh, not all are kid-friendly)

If you like Christmas RomComs, but hate the Hallmark Channel, While you were Sleeping is for you
If you love Christmas RomComs, but hate the Hallmark Channel, While you were Sleeping is for you

While You Were Sleeping (1995) A touching and laugh-out-loud funny tale for anyone who ever cherished a secret love (or faced a Christmas alone). Might be Sandra Bullock’s best role before The Blind Side.

Die Hard (1988)  Police Officer John McClain thwarts a ring of Euro-terrorists who crash a corporate Christmas party. Bruce Willis is his smarmy best, but Alan Rickman as Hans Gruber almost steals the show… and the dough.

Family Man (2000)  Turns the “what if” premise of It’s a Wonderful Life on its head. With Don Cheadle as an angel on the edge, and some of the best acting of (Madam Secretary)  Tea Leoni and Nicholas Cage‘s and careers. Sue and I watch it every year and ponder our own “what if?”

Joyeux Noel (‘Merry Christmas’ in French, 2005) The remarkable true story of the WWI Christmas truce. German, French, and Scottish soldiers lay down their arms for a day of celebration and wind up friends with the ‘enemy’ on the opposite side of a brutal war.  A powerful expression of both the spirit of Christmas and the power of friendship. (Subtitles.)

Children of Men (2006) Alfonso Cuarón’s masterpiece confronts us with a tale of a miraculously pregnant unwed mother and her reluctant protector set amidst the most horrific violence an empire can throw at them: in short, a stark retelling of the Christmas story.

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See also:

It’s a Wonderful Life and the Courage to Live (and Create Art) Idealistically

Alfonso Cuarón’s ‘Children of Men’ (2006): A Stark Retelling of the Christmas Story

David Oyelowo on Why Christians Can’t Abandon Hollywood, by Tyler Huckabee in Relevant

The blockbuster Selma actor with unflinching faith has a fresh vision for Christianity in film

“I would be lying if I said it wasn’t disappointing [not to be nominated for an Academy Award for his work in Selma.] Not least because it’s Dr. King, and I personally just want to see him celebrated in every way possible, and, of course, the film is an extension of that.” -David Oyelowo

by Tyler Huckabee in Relevant

selma_ver3A lot of what you need to know about David Oyelowo can be gleaned from a brief, viral, almost instantly GIF-able clip from the 2015 Academy Awards.

On the heels of John Legend and Common’s rousing, staggering performance of Selma’s “Glory,” the cameras panned the Oscar crowd, who had leapt to their feet as one in spontaneous, rapturous applause.

The adulation was richly deserved,but one man stuck out in particular: Oyelowo, who starred in Selma as Martin Luther King Jr. He was seated near the front, suited in a smartly tailored, Cabernet-red tuxedo (which would land him at the top of Esquire’s list of best-dressed men of the Oscars the following morning), applauding while tears ran freely down his cheeks.

Even in our age of 24/7 celebrity coverage, in which a Google image search can turn up photos of Gwyneth Paltrow expressing every candid emotion known to man, the moment seemed purely human and vulnerable. The Oscars almost didn’t deserve it.

The reason the moment was so indicative of Oyelowo (pronunciation: O-yellow-wo), is that,in person, it is exactly how he comes across. He is put together, but authentic—impeccably collected and utterly personable.

Oyelowo is becoming well-known for his ability to play other people, but it’s almost as astonishing just how easily he inhabits his own skin.

Parting the Red Carpet

Oyelowo’s presence at the Oscars was notable for another reason. For most of the awards season, his blistering Selma performance was widely expected to net him the Oscar for Best Actor, so it was a bit of a scandal when he wasn’t even nominated (Neil Patrick Harris even mocked the Academy for the snub during his hosting gig).

“I would be lying if I said it wasn’t disappointing,” Oyelowo says, with refreshing candor. “Not least because it’s Dr. King, and I personally just want to see him celebrated in every way possible, and, of course, the film is an extension of that…”

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Forget Trump and Clinton: Zombie Movies Offer Best Political Lessons, by Daniel W. Drezner

Part of ongoing series: Teaching Worldview through Film

The living dead are the perfect 21st-century threat: They are not well understood by serious analysts, they possess protean capabilities, and the challenge they pose is very grave.

by Daniel W. Drezner, PhD • Tufts University

The Zombie Apocalypse may have more to teach students about politics than Donald Trump or Hillary Clinton.

Regardless of what parents tell their children, books are routinely judged by their covers. Indeed, many book titles encapsulate a premise so obvious that the text itself seems superfluous. I’m talking about the literary equivalents of Hot Tub Time Machine or Aliens vs. Predator. I should know­—I’m the author of Theories of International Politics and Zombies.

I can envision a future when such books will pass from individual to individual via secret-Santa office parties. They’ll be good for a chuckle, and then not surface until the ensuing Christmas. Most of my colleagues assumed that I wrote this book to make political scientists laugh a little—and they would be partially right. And yet a funny thing happened while I crafted a satire about world politics and zombies: I learned about the virtue of seriousness.

To be clear, the zombies in my book are not metaphors for thuggish political discourse or symbols of brainless economic ideologies. I’m talking about the genuine article: ghouls rising from the grave to feast upon the living.

Why write a book about the threat posed by the living dead? Sure, the ratings of AMC’s The Walking Dead demonstrate their popular cachet, but international relations is Very Serious Business. There is no shortage of “real” threats to scare analysts: nuclear proliferation, terrorism, pandemics, financial instability, cyberwarfare. Why introduce an implausible, shuffling, stumbling creature that desires only braaaaiiiiiinnnnnnns into the mix?

The End of the World as We Know It

Tim Foley for The Chronicle Review
Tim Foley for The Chronicle Review

The premise started out innocently enough. Scanning the Web on a bright August day in 2009, I stumbled upon a serious paper that modeled zombies as representative of certain kinds of pathogens. The paper soberly concluded: “An outbreak of zombies infecting humans is likely to be disastrous, unless extremely aggressive tactics are employed against the undead. … A zombie outbreak is likely to lead to the collapse of civilization, unless it is dealt with quickly.”

The paper was entertaining and informative—but it lacked a political analysis. It failed to take into account variations in national responses, not to mention the cross-border coordination problems that an army of the undead would create. So I spent a few hours thinking about how various international-relations theories would respond to a zombie attack, wrote up a blog post intended to make a few colleagues giggle, and moved on.

The response to the post dragged me back in. A brilliant discussion thread emerged, with inspired comments tackling paradigms I had overlooked. At the next professional meeting I attended, more than one colleague told me that my post would be useful for teaching students. The more feedback I received, the more I realized that the average undergraduate knows a lot more about zombies than about world politics. A straight explanation of abstruse theoretical paradigms can cause a student’s mind to wander. Explaining realism, liberalism, or constructivism by way of references to Dawn of the Dead or Shaun of the Dead is much easier.

11173003_oriI’m not the only political scientist to recognize this fact. Major academic presses have recently published books that use everything from the literary canon to The Godfather to explain foreign affairs. Peer-reviewed scholarship has been published on international relations and Buffy the Vampire Slayer, Star Trek, Lord of the Rings, and the Harry Potter books. Wizards, vampires, aliens, and hobbits had been covered, but I could legitimately identify a “zombie gap” in the literature.

My motivations were not strictly pedagogical. I have been in too many brain-rotting seminar debates about whether someone should be labeled a “defensive realist” or a “neoliberal institutionalist.” I’ve read the works of too many scholars who throw around quotes from Kenneth Waltz’s Theory of International Politics as party apparatchiks must have done with Mao’s Little Red Book. I love my field—but I worry about its descent into scholasticism for its own sake. Applying international-relations theory to a zombie-infested world was a way of affectionately but satirically tweaking the field’s strictures.

Zombie Education

But first I had to educate myself about the zombie genre, about which I knew little. I’ve never been a fan of horror movies—indeed, truth be told, my only childhood memory of a horror film was watching 10 minutes ofPoltergeist and then not sleeping that night. But I delved into the zombie canon, from the obvious highlights (George Romero’s Dawn of the Dead, Danny Boyle’s 28 Days Later, Max Brooks’s World War Z), to more obscure fare (Peter Jackson’s Dead Alive, one of the funniest and most disgusting films ever made).

Andrew Lincoln as Rick Grimes - The Walking Dead _ Season 5B, Key Art - Photo Credit: Courtesy of AMC
Andrew Lincoln as Rick Grimes – The Walking Dead (Courtesy of AMC)

Armed with a knowledge of the undead that extended beyond Michael Jackson’s “Thriller” video, I sat down to write—and quickly hit a brick wall. My prose was clunky and ham-handed, full of obvious, unfunny jokes. It turns out that it’s hard to write about the living dead without drowning in puns. I drew attention to “gnawing problems with the literature” and declared my intention to “get at the meat of the problem.” I could feel the decaying corpse of Milton Berle elbowing me in the ribs. I sought advice from my editor, Chuck Myers, who wisely explained that my tone needed to be as deadpan as possible. Only by writing in a serious manner could the absurdity of the premise be revealed. Now the words began to flow, although it was etymologically impossible to root out all of the puns.

On the way toward completing the book, I encountered a series of intellectual surprises. For starters, I realized that zombies are a great synecdoche for a constellation of emerging threats. Even though it is relatively easy to define a zombie, the genre diverges widely on the capabilities of the living dead. In some films, like, say, Planet Terror, zombies possess enough intelligence to act like bioterrorists. In others, zombies are more like mindless but intuitive disease vectors. In this way, the living dead are the perfect 21st-century threat: They are not well understood by serious analysts, they possess protean capabilities, and the challenge they pose is very grave. (See what I mean about the puns?)

I looked at the literature on “zombielike events,” calamities akin to an army of reanimated, ravenous corpses. This meant researching the sociology of panic, the political economy of natural disasters, and the ways in which past epidemics have affected world politics. I was new to this scholarship—jumping into it gave me the same thrill of discovery I felt as a grad student.

In predicting possible outcomes, I embraced Rudra Sil and Peter Katzenstein’s concept of analytic eclecticism, which draws from multiple theoretical approaches to attack a policy problem. The standard international-relations paradigms have their uses, but practitioners within them tend to develop conceptual blinders about causal mechanisms that do not conform to their own model’s internal logic.

Apocalyptic Optimism

Thinking through the implications of a zombie attack, I came away with a more optimistic take on humanity and a more pessimistic take on my field. While traditional zombie narratives tend to end in apocalypse, most of the theoretical approaches I surveyed suggested vigorous policy responses should we be attacked by the living dead. Realists would push for a live-and-let-live arrangement between the undead and everyone else. Liberals would call for an imperfect but useful global governing body to regulate the undead—a World Zombie Organization. Constructivists would call for a robust, pluralistic security community dedicated to preventing new zombie outbreaks and socializing existing zombies into human society. Bureaucracies would very likely err in their initial responses, but they’d adapt.

MV5BMTQ4MjY2MjMzOV5BMl5BanBnXkFtZTcwMDUxNzIwOQ@@._V1._CR43,43.16667175292969,1298,1960.9999542236328_SX640_SY720_Predictions such as those suggest that maybe, just maybe, the zombie canon’s dominant equation of zombies + feckless humans = postapocalyptic wasteland is perhaps overstated. That said, even these “optimistic” outcomes would be unmitigated disasters from the perspective of human security. In a world where zombies concentrate in the weakest countries—stronger states are better equipped to fend off the threat—billions of human beings would face an additional menace on top of disease, poverty, and the erosion of the rule of law.

As I thought through these various scenarios, it became clear that the ability of standard international-relations paradigms to adequately analyze threats is eroding. Most theories are state-centric, but interstate conflict is on the wane. Consider again the list of real-world threats above; almost none of them emanate from states. Neither terrorists nor hackers possess large swaths of territory, making retaliation difficult. Natural disasters like earthquakes or volcanoes do not possess “agency” as we understand the concept. Neither do diseases or melting glaciers.

The international-relations profession has always started with the state—and governments will continue to play a vital role in world politics. But the field has been slow to adapt to the plethora of asymmetric threats that we now face. Unless that changes, international-relations scholars will be hard-pressed to offer cogent policy responses to emerging threats, much less the living dead.

Combining satire and scholarship is a risky enterprise. I have no doubt that many readers will conclude that I failed miserably. On the other hand, if the book gets people who wouldn’t ordinarily care about world politics to laugh, and then think, then the royalties—I mean, the intellectual benefits—will vastly exceed the costs.

Daniel W. Drezner is a professor of international politics at the Fletcher School at Tufts University. His latest book, Theories of International Politics and Zombies, has just been published by Princeton University Press. Originally published as “How I Learned to Stop Worrying and Love Zombies” in The Chronicle of Higher Education.

Why Evangelical Films Fail, by Peter J. Leithart

Evangelicalism is a word religion. I’m a big fan of words, but even talking pictures aren’t fundamentally about words. Evangelical films over-explain, over-talk. They don’t trust the images to do the work.

by Peter J. Leithart • First Things 

Opening nationwide October 16th
Opening nationwide October 16th

I went to a screening of Woodlawn last Saturday. Directed by Birmingham brothers Jon and Andrew Erwin, the film tells the true story of revival among the players on the football team at Woodlawn High School in Birmingham during a racially tense period of the 1970s.

The film focuses on Tony Nathan, the tailback who takes the position from a white teammate and becomes a star. The real-life Tony Nathan went on to play at Alabama and for the Miami Dolphins.

It’s a moving story, with some high-pitched emotional scenes. The acting is good, especially Jon Voight as Bear Bryant, Nic Bishop as Woodlawn’s coach, Tandy Gerelds, and Caleb Castille who plays Nathan in his first film. Technically, Evangelical films have come a long way.

The large crowd at the screening cheered when Woodlawn scored a winning touchdown, shouted when Tony Nathan dodged a tackle, laughed at the punch lines. It was a very into-it crowd.

Yet I came away from the film dissatisfied, as I do from many films by Evangelicals. I think there are a number of reasons for that dissatisfaction, but at base the problem is theological (ain’t it always)…

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Also

Watch the ‘Woodlawn‘ trailer

The Blind Side Leading the Blind: Better Faith-Based Filmmaking through Better Stories, by Gary David Stratton

Why Most “Christian” Movies Suck, by Brennan Smith

The Future of Faith in Film? Youth and Evangelicals Outstrip All Other Movie-going Audiences, by David Kinnaman

Current Films by Act One Graduates Reveal Strange Dichotomy in Box Office Mojo’s ‘Christian Movie’ Category, by Gary David Stratton

Christians in Hollywood: A Mission Impossible Writer Offers a Treatment, by TV Writer Ron Austin

Why Liberal Arts Education is Best Preparation for Filmmakers, by XMen and The Giver Producer Ralph Winter

Ralph Winter is a Hollywood film producer who has helped to produce blockbuster movies such as the X-Men, Fantastic Four and Star Trek series as well as “The Giver” and the first remake of “Planet of the Apes.”

by  

(Unless you’re an IAM member, you will need to watch this on Vimeo.)

Producer Ralph Winter advises against film school from International Arts Movement on Vimeo.

ralph_winter

 

VARIETY: Larry Poland Builds Bridges Between Hollywood and Evangelicals, by Brian Lowry

Kudos for Larry Poland from Hollywood’s #1 weekly magazine, Variety. Subscribe today.
Artwork by Joel Kimmel for VARIETY
Artwork by Joel Kimmel for VARIETY

Despite his cheerful demeanor, Poland isn’t a Pollyanna about the gap separating media culture from evangelicals. There’s a reason he titled his recent book on the topic “Chasm: Crossing the Divide Between Hollywood and People of Faith.”

 by   

Variety TV Columnist 

@blowryontv

 

Master Media's Prayer Calendars help Christian pray for America's leading media influencers
Master Media International’s Prayer Calendars helps Christians pray for America’s leading media influencers

Hollywood and evangelical Christians don’t exactly have a harmonious history. So it’s always something of a jolt to be reminded that a group of the latter schedules regular prayers for specific showbiz leaders and media influencers — including, in what’s left of June, Warner Bros.’ Sue Kroll, FX CEO John Landgraf, actress Anna Kendrick, and the ubiquitous Kardashians.

The “prayer calendar” (and yes, it’s organized alphabetically) is just one of the innovations arising from Mastermedia Intl., which seeks to engage the entertainment industry and effect change through what amounts to constructive engagement. Celebrating its 30th anniversary, the group is led by Larry Poland, who has spent the past 35 years conducting this sort of missionary work, although the mysterious tribe he oversees drives around in expensive cars and tosses around words like “synergistic.”

Kudos for Larry Poland from Hollywood's #1 Weekly
This article originally appeared in the June 22 issue of Variety.

Having “flunked retirement two or three times,” Poland is again seeking to engineer a transition in day-to-day management, one that will position Mastermedia, he says, for the next 30 years. Yet whatever the organization’s future, its past and present under Poland has generally operated in stark contrast with Christian groups that pursue a more confrontational approach — using “anger strategies,” as Poland calls them, like boycotts and protests, which he considers counterproductive.

“I knew instinctively that was not the right way to go about it,” Poland says. “The best way to change content is not to scream and yell at the people who produce it.”

In such a polarized political environment, Poland’s attitude feels particularly refreshing, and it has helped keep doors open that might otherwise have been shut. Part of Mastermedia’s outreach has involved conducting corporate seminars, seeking to educate decision-makers about the spending power of the evangelical market and ways to address the faithful without casually or inadvertently insulting them.

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Get your own copy of Larry’s Media Leader Prayer Calendar

Also:

Youth and Evangelicals Outstrip All Other Movie-going Audiences, by David Kinnaman

The Future of Faith in Film and Television: O Crap! The Theatre is Full, by Actress McKenna Elise

The Future of Faith-Based Filmmaking: What is a Christian movie? by Screenwriter Mike Rinaldi

Current Films by Act One Graduates Reveal Strange Dichotomy in Box Office Mojo’s ‘Christian Movie’ Category

Why Most “Christian” Movies Suck, by Screenwriter Brennan Mark Smith

Christians in Hollywood: A Mission Impossible Writer Offers a Treatment, by TV Writer Ron Austin

The Blind Side Leading the Blind: Better Faith-Based Filmmaking by Living Better Stories, by Gary David Stratton

TONIGHT! Rebranding Christianity, with filmmaker & author Phil Cooke

FREE Teleseminar

 

Thursday, July 16th, 7-8pm EST

Dear Friend,
phil_cookeIn a truly post-Christian America, Christians find themselves ostracized, misunderstood, marginalized, and often the victims of seemingly unmerited and scathing accusations. It seems in today’s world, Christians are known more for what we’re against than what we’re for.But, the truth is Christians are some of the most giving people on the planet, committed to their families, churches, and communities. It’s true we’re far from perfect, but if most Christians are decentindividuals who strive to love and serve others, what went wrong?Phil Cooke is on a mission to show Christians how to fix our “branding” problem in America.

Phil Cooke is a writer, television producer, and media consultant based in Burbank, California, as well as a critic of some aspects of contemporary American and American-influenced Christian culture. He is a fundamentalist Christian and, as Scott McClellan of Collide Magazine wrote, “At times, Cooke may appear to be Christian media’s biggest critic but, as he is quick to point out, he criticizes because he loves.”

He is a long-time producer of nationally known religious and inspirational programming, and has worked for such clients as Billy Graham, Oral Roberts, Joel Osteen, Joyce Meyer, The Salvation Army, Mercy Ships, The American Bible Society, and the YouVersion Bible App. Cooke produced Billy Graham’s most-seen program, “Starting Over,” which reached around 1.5 billion people in 200 countries in one day. Joel Osteen said, “Phil Cooke is one of the greatest communicators of our generation.”

During this teleseminar training call, you’ll discover:

  • What branding is, and what it isn’t
  • What happened to Christianity from a P.R. perspective
  • What branding and religion have in common
  • How to handle public opinion on the gay marriage issue
  • Why public perception is often received as reality and what to do about it
  • What Christians can do to help fix the branding (or perception) of Christianity in culture

 

To join Phil for this FREE webinar, register here