Why Beauty Matters in a Broken World, by Catherine Hart Weber, Ph.D.

Part of Lenten Series You Are What You Do (and Eat): Spiritual Formation in Everyday Life

We can’t escape the pain, darkness, and brokenness of a fallen world, neither can we escape the beauty of Christ’s transforming life. Through the 40 days of Lent we acknowledge this, in us, and around us.

by Catherine Hart Weber, PhD

Beauty will heal and save you.

That’s the hope and message woven into the 40 days of Lent leading up to Easter. God’s balance of beauty through love, goodness and redemption are His divine antidote to vandalization and brokenness in and around us.

Protesting Brokenness with Beauty

A dear friend of mine who admires pottery came across a large bowl that particularly caught her eye at a recent art show. It was in an amazing shape of waves and the beauty captured her heart. But, it was expensive. So she focused on the joy of another potters three small pots formed together, symbolic of a three-fold cord unbroken.

The next day however, she just couldn’t get the beauty of the wave bowl off her mind. She had to go back. Admire it once more. Maybe the artist would be willing to give her a discount. She had saved some Christmas money – for such a time as this.

The potter was flattered at her admiration of his work. They had a great conversation. As she turned to approach him about the beautiful wave bowl, her bag knocked a large vase behind her, and it fell to the ground, shattering in small pieces.

She was in shock. How could this happen? She came to pursue and acquire beauty, and now she was faced with brokenness – that was very expensive!  Right then and there, something in her also shattered. She broke down crying, sobbing.

It wasn’t just about feeling bad for the loss of the art, or the huge cost.  It was much more, much deeper.

The Balance of Beauty

You see most of her life is about dealing with or paying for brokenness. She has lived with cancer for over 20 years, consistently for the last 12 years. The 5th round of chemo and treatment she is on now costs thousands.  Her life revolves around the damaging consequences of her broken body and other shattered things around her.

But it just couldn’t end this way. She couldn’t just pay for more brokenness and walk away with no beauty. God has always provided a balance of beauty and goodness in her life. She exemplifies beautiful fruitfulness. Each fresh new day she embraces answered prayers, deep relationship connections, pilgrimages and daily ‘love and kisses from God’.  Just the other day, the Lord assured her of His love in Zephaniah 3: 16, 17 through three different sources.

So, once again, the spirit of God gave her the gift of being released to keep pursuing and embracing the gift of beauty. The potter offered for her to pay wholesale for the broken vase and the wave bowl.  She left with a bag of shattered vase pieces and a beautiful wave bowl: the balance of beauty to protest against the brokenness.

Beauty Matters

That’s how life can be. Keeping the balance of beauty.

We teeter on the edge of freedom and fear.

Dealing only with broken pieces keeps us deprived, holds us back. The beauty is too extravagant. I can’t justify it. It’s unrealistic, unreachable. I can’t enjoy it because it’s overshadowed by the darkness and brokenness.

That’s why Jesus came. His love and beauty set us free.

He brings light into our darkness. He makes beauty from ashes.

And only the Spirit of God can release us, open our eyes and hearts to see all that Christ is, what He provides for us through the Cross. What He promises to do in us, in the new Heaven and the new earth – is goodness and beauty. Images of fresh flowing rivers, life-giving fruitful trees, no more pain and tears – instead peace, love and laughter.

Beauty matters. The beauty of Christ’s transforming life in us matters.

We can’t escape the pain, darkness, brokenness and vandalizing.

Through the 40 days of lent we acknowledge this, in us and around us.

But then we open our lives to the Holy Spirit, holding on to our visions of God paying the price, transforming and empowering us now and finally making the whole of creation anew – with love, joy, peace, hope – and beauty.

Live out the beauty

You can protest the darkness and brokenness by balancing with beauty.

Embrace God’s kingdom, His Shalom, His resurrection in you, living in harmony with nature and others each day.

The Spirit of God challenges us to protest the languishing and brokenness. Anticipate and embrace the beauty God provides and promises.

Make this vision come true by living out love and beauty each fresh new day.

It is this vision that enables us to live fully alive, right where we are.

Love matters. A cup of water matters. Creating beauty matters.

A beautiful wave pottery bowl matters.

Henri Nouwen reminds us that “every time we show compassion to a suffering person, every time we arrange a bouquet of flowers, offer care to tame or wild animals, prevent pollution, create beauty in our homes and gardens … we are making the vision come true…Whenever it comes alive in us we will find new energy to live it out, right where we are….this beautiful vision gets us involved.

That’s the reason why I am coming alive while watching the daffodils I planted in my window boxes slowly open their happy faces to brighten my day.

  • Why I feed the wild birds around my home.
  • Why I finally painted my kitchen cabinets.
  • Why I lead a spiritual formation group.
  • Why I write this blog.
  • Because living out the vision of God’s love and beauty matters.

QUESTION: What beauty matters to you right now?

Next: Give it a Rest, by Keith Kettenring

For more by Catherine visit her blog 52 Ways to Flourish

The Soul Killing Problem of Bad Art, by Ashley Ariel

From the Wild/RestlessA 50-Car Pile Up at the Corner of Faith, Film and Theology

As artists and theologians we need to be less sure of being “right” and more secure in taking the risk to say, “I don’t know. Let’s explore this.”

by Ashley Ariel

scan-131340001One of my theology professors, or perhaps many of them, (sometimes my entire seminary experience simply flows together as one great river) once said that bad art is bad theology. Think about that for a moment. Bad art is bad theology. Good art reflects the world around it. Good art unveils a deeper theme or emotion undergirding its story and truly great art oh-so-subtly transforms the worldview of its audience by making them question things they once thought stable. By breaking out the keen prophetic edge of a good story well told and using it to deftly peel back the layers of an unexamined life.

So what does bad art do? It reinforces preconceived notions about the world and about ourselves. It encourages the mundane and allows its audience to wallow in self-validating sense of security. All of which helps no one and leaves both outsiders and those insiders who are striving for something more scratching their heads and wondering at the inept mangling of something once called beautiful.

God is a vast and wildly wondrous thing that no human can ever hope to fully grasp. And so it disappoints me to no end that so much energy of the American church and particularly the American Evangelical church has been set to pearl clutching in an attempt to confine God, theology and by extension, art to a terribly tiny box whose corners have all been painstakingly mapped. The good news is that neither art nor theology nor God can be trapped in such a suffocating box. It is sheer hubris to believe that this might be so.

So where does this leave us if we want a living, breathing theology that is reflected in our art?

Continue reading

Ashley Ariel studied screenwriting at a college you’ve never heard of and got an advanced degree in theology (in theology! why?!?) at a school you might have. She’s attended several writing programs of fairly vague importance and has blithely put aside any attempt at snobbery, fully embracing her bizarre, hybrid love of the summer tent pole action flick and the soulful indie that inexorably crushes your feelings into dust.
She’s taught workshops on story in the wilds of Kansas City and once, accidentally, ran into Colin Farrell while stocking shelves at Borders. She’s worked on lots, on sets and has read a slew of very bad scripts for several teeny tiny production companies. She currently lives in somewhere in NH and is constantly asking herself how she found herself in this tree.

Next: Why Beauty Matters in a Broken World, by Catherine Hart Weber, PhD

Ideas Have Consequences: The Power and Limits of Existentialism, Dead Poets Society 2

Part 9 of series:  Hollywood and Higher Education: Teaching Worldview Thru the Stories We Live By

“No matter what anyone tells you, words and ideas can change the world.” -Mr. Keating (Robin Williams)

by Gary David Stratton • Senior Editor

gal-dps-cast-jpgThe main characters of Dead Poets Society (1989) provide a perfect opportunity to observe not only the remarkable skill of no less than three young actors (Ethan HawkeRobert Sean LeonardJosh Charles) on their way to Hollywood greatness, but also a profound illustration the various array of practice shifts involved in the worldview of Existentialism  (See, Bungee-Jumping to Eternity: The Existential Angst of Dead Poets Society).

Paradigm Shifts versus Practice Shifts

A worldview is a lot like an iceberg in at least two important ways: First, only their uppermost levels are visible to the naked eye.  Second, that visible tip is not the even close to the most dangerous part of an iceberg or a worldview. It is that proverbial 90% lurking beneath the waterline that can sink your ship… and maybe even cost you your life.

Screen shot 2013-05-02 at 1.37.53 AM

You cannot “see” the strategies, values, or stories guiding a person or society. Unless they are reflected in actions, words, or “cultural artifacts”—art, architecture, literature, technology, institutions, etc.—ideas remain hidden under the surface. Like mounting pressure on tectonic plates, no one knows how much power is really stored up until the ground begins to shake.

Many anthropologists, therefore, make a distinction between “paradigm shifts” and “practice shifts.” A paradigm shift is change in the unseen world of ideas of an individual or society, while a practice shift is a change in actual behavior. For instance, in Casablanca, we had no idea what a profound paradigm shift Rick was experiencing until the moment we saw his practice shift in putting Ilsa on the plane with Victor. Or in Fiddler on the Roof, it was impossible to know if Tevye had actually shifted his paradigm for marriage from a business contract to a romantic covenant, until he applied his daughters’ paradigm in his own practices by asking Golda, “Do you love me?”

The critical moment that ultimately leads Keating’s students from paradigm shift to practice shift

The relationship between invisible paradigm shifts and visible practice shifts is a critical element of all good filmmaking. Whether it is Luke Skywalker turning off his targeting computer, because he has finally put his faith in “The Force,” or George Bailey asking God to make him live again, because he has finally reinterpreted his life as “wonderful,” the clearer the connection between a main character’s paradigm shift and their practice shift, the better.

Dead Poet Society (DPS) Character Transformations

Dead Poets Society offers the unusual pleasure of following the transformation arc of multiple characters, four of who get their own complete storylines. And while their paradigm shifts are similar, their practice shifts are radically different.

While Mr. Keating implores his students that “words and ideas can change the world,” it is Knox Overstreet who gives voice to the counter-balancing truth, “I’ve got to do something!” And do something is exactly what the young DPS members set out to do.

Knox Overstreet: For the Love of Chris

For Knox Overstreet applying Mr. Keating’s worldview to his own life story begins with the inciting event of Chris Noel (Alexandra Powers) coming into his life. What begins as obligatory dinner at the home family friends—the Danbury’s—turns into the beginning of an epic adventure. The Danbury’s football star son, Chet, is dating cheerleader Chris whom Knox decides is “the most beautiful girl I have ever seen in my entire life.”

Instead of accepting the script written for him by his family and school, he invokes “Carpe Diem!” in his headlong pursuit of the girl of his dreams. The new plausibility structures of his new worldview open up the possibility of engaging in behaviors that would have been unthinkable just a few weeks earlier.  He sneaks off campus to see Chris.  He writes poetry about her.

Chris Noel, the Goal of Knox’s Quest

Finally the internal pressure of his newfound love and newly expanded worldview reach a boiling point. Standing by the phone with the entire DPS watching, he rewrites his life story from the Welton/family worldview to his newly chosen existentialism in a single moment:

Knox: She’s going to hate me. The Danbury’s will hate me. My parents will kill me. (Looking at the group.) All right, God damn it. (Inserts coins.) Carpe diem!

Once committed—the “midpoint” of his story arc—there is no turning back for Knox. He kisses Chris at a party, reads her poetry at her school, and just when all hope seems lost, he wins a date and the heart of his true love.

Mr. Keating’s teaching has shifted his paradigm in such a way that his practice shifts with it. Knox rejects his Welton/family story that social structures must be followed and embraces a new story where he is free to think for himself and find his own meaning for his day-to-day existence. The ideas found in Mr. Keating’s Existentialism have serious consequences for Knox. His life is clearly changed and enriched from the experience.

Charlie Daulton: The Name is Nuwanda

Charlie Daulton’s (Gale Hansen) life story, on the other hand, isn’t so much transformed by Mr. Keating’s worldview as it is confirmed. As the film’s steadfast character, Charlie really doesn’t change much at all. He is a charming rebellious hedonist at the beginning of the film, and a charming and even more rebellious hedonist at the end. From bringing pornography, and later girls to DPS meetings, interrupting a school assembly with a phone call from God (also about girls), to painting a virility symbol on his chest and adopting the name “Nuwanda,” Mr. Keating’s Existentialism functions primarily to free Charlie to act on impulses he had previously restrained.

Mr. Keating attempts to reign in Charlie’s character with the warning: “Sucking the marrow out of life doesn’t mean choking on the bone. There’s a time for daring and there’s a time for caution, and a wise man understands which is called for.”  Yet he never really succeeds in actually transforming Charlie’s girl obsessed life story.

On a more positive note, his new worldview also helps Charlie to stand against external pressure. He is perhaps the first Dead Poet to “get” Mr. Keating’s courtyard marching lesson on conformity when he tells his teacher, “I’m exercising the right not to walk.” In the end, Charlie alone is the only Dead Poet willing to endure both paddling and expulsion without ratting out his friends or betraying his teacher.

While Mr. Keating’s worldview doesn’t really change the direction of Charlie’s life, it does help strengthen his character. While not exactly a heroic character, his exposure to existentialism certainly hasn’t hurt his life.

Todd Anderson: O Captain, my Captain!

Perhaps the most moving transformation in the film is that of Todd Anderson. At the start of the film, Todd’s identity is buried so deeply in that of the Welton/Family worldview, he functions merely as a sub-plot of his older brother’s story.  Something inside him is so stirred by Mr. Keating’s message that he writes “Seize the Day” in bold writing in his notebook.  Then we watch as the Welton/Family story wins out and he crumbles the paper and tosses it in the waste basket.

But Mr. Keating is not finished with Todd yet. When Todd refuses to even admit that he has written a poem to be read aloud in class, Mr. Keating steps in:

Keating: “Mr. Anderson thinks that everything inside of him is worthless and embarrassing. Isn’t that right, Todd. Isn’t that your worst fear?  Well, I think you’re wrong. I think you have something inside of you that is worth a great deal.”

Visions of a sweaty-toothed madman

In perhaps the film’s most moving scene, Mr. Keating writes Walt Whitman’s adage on the blackboard—“I sound my barbaric YAWP over the rooftops of the world”—and demands that Todd YAWP! Suddenly the paradigm shift that has been lurking beneath the surface of Todd’s life breaks into the open in his “sweaty-tooth madman” speech.

Todd: Truth like-like a blanket that always leaves your feet cold… Y-You push it, stretch it, it’ll never be enough. You kick at it, beat it, it’ll never cover any of us. From the moment we enter crying t-to the moment we leave dying, it’ll just cover your face as you wail and cry and scream.

Keating: [long pause then class applauds] Don’t you forget this.

He never does. In the climactic final scene it is Todd who finds his voice in leading the Dead Poets in their final act of heroism. As the bagpipe music closes on a freeze frame of the boys standing on their desks, you FEEL the incredible power of existentialism to free these young men from the bondage of the gravity of Physicalism and send them soaring into the invisible world of Ideals.

Todd is the first one on his feet, er, desk, in a final DPS salute to their “Captain”

O, if that was all there was to the story. But there is another major character, and it is his story that points us to the second similarity between worldviews and icebergs—what you don’t see is what is most likely to kill you.  I’ll explore that thought next week, but today let me ask you…

Was there something lurking just beneath the waterline of the iceberg of existentialism that ultimately led to Neil’s tragic Titanic ending?

If so… was Mr. Keating at least somewhat responsible for Neil’s death?

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Next post in series:

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

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See also:

Hollywood and Higher Education: Teaching Worldview Through Academy Award-winning Films

Casablanca and the Four Levels of Worldview: Why Everyone Meets at Rick’s 

Fiddler on the Roof: Worldview Change and the Journey to Life-Interpreting Story

Crash goes the Worldview: Why Worldview Transformation Requires Changing Scripts

It’s a Wonderful Worldview: Frank Capra’s Theistic Masterpiece

If you Live it, They Will Come: The Blind Side and Better Faith-Based Filmmaking

 

 

Bungee-Jumping to Eternity: The Existential Angst of Dead Poets Society

Part of ongoing series:  Hollywood and Higher Education: Teaching Worldview Thru the Stories We Live By

“Carpe Diem!  Seize the day, boys. Make your lives extraordinary.” -Mr. Keating (Robin Williams)

by Gary David Stratton • Senior Editor

posterDead Poets Society, 1989 Oscar winner for best original screenplay, boasts an impressive Hollywood lineage. In addition to the best screenplay win for Tom Schulman,  Dead Poets earned a best director nomination for Peter Weir, a best actor nomination for Robin Williams and helped launch the careers of Oscar-nominated actor Ethan Hawke (Training Day, Before Sunset), as well as Emmy-nominated actors Robert Sean Leonard (House), and Josh Charles (The Good Wife). Not bad for a small budget film few imagined would grow into culture-shaping cinema.

It is also one of the best films ever made on the vocation of teaching. I rarely meet a teacher, professor, or youth minister who wasn’t deeply moved by their first encounter with Dead Poets Society.  It touches a nerve for anyone entrusted with the thrilling, yet delicate art of shaping young lives.

Mr. Keating’s brief sojourn at the fictional Welton Academy captures both the highest hopes and greatest fears of anyone who has ever stood in front of a classroom. As it turns out, worldview formation is as dangerous as it is fulfilling. Which brings me to my real point.

Worldview Transformation

Gather ye rose buds while ye may…

Dead Poets is also a tremendous film for anyone interested in the art of worldview formation in film and in life. First, it illustrates the power of mentors, texts, and communities in shaping worldview. Second, it gives soaring testimony to the power of Existentialism in the quest to escape the gravity of Physicalism into the intoxicating heights of Idealism.  Finally, it provides a troubling warning as to the power of nihilism to crush the dreams of the unsuspecting idealist. (For and explanation of Physicalism versus Idealism, see, It’s a Wonderful Worldview: Frank Capra’s Theistic Masterpiece.)

The Welton Worldview

Both in movies and real life, worldview change never comes easily. Human beings are insanely committed to maintaining the societal traditions and personal strategies we’ve carefully developed for managing our lives, even and especially when those strategies are counter-productive. Dead Poets does a wonderful job of detailing how good teachers expose the counter-productive flaws in their students’ worldview. And no worldview seems quite so flawed as that of the mythical Welton academy in which Dead Poets Society is set..

As a highly traditional 1950’s college preparatory academy, Welton is rooted in what appears to be a highly Physicalist (if somewhat religiously Deistic) worldview. (For and explanation of the four levels see, Casablanca and the Four Levels of Worldview.)  In other words, the hard, pragmatic realities of the physical world are the only things that are “really real” at Welton.

The underlying story of Welton Academy is financial success, not personal exploration

Level 4—Story/Basis: The underlying story of Welton is success, or more specifically, the financial success and social status available to those who get into prestigious schools in order to gain entry into prestigious careers.

Todd Anderson’s (Ethan Hawke) disengaged parents may forget what they got him for his last birthday, but they know they want for his life–Valedictorian honors and a National Merit scholarship like his older brother. (Hint: The Welton Academy Yearbook is a great source for keeping characters straight.)

Neil Perry’s (Robert Sean Leonard) helicopter father may not listen to his son’s desires to write for the school newspaper (or become an actor), but he already has his son’s life planned out for him whether he likes it or not:

“You’re going to Harvard and becoming a doctor.”

Level 3—Values/Principles: Welton faculty and administration oblige their moneyed parents by creating an academy rooted in the values of “tradition, honor, discipline, excellence.” They celebrate “the light of knowledge” with religious trappings and a strong classical sense of morality, giving Welton a rather Deistic slant. All we really know about this distant God is that he doesn’t want girls at “Helton” distracting the “boys” (not men) from their studies. (The Welton Academy Yearbook is a great source for keeping characters straight.)

“Tradition, honor, discipline, excellence.”

Level 2 — Strategies/Culture: Accordingly, Welton’s academic culture is devoted to a highly traditional curriculum, and educational methodology.  We are offered brief glimpses into the strict world of “normal” Welton classrooms marked by rote memorization of Greek, Biology, and Calculus.

These are not the kind of classrooms a creative personality would cherish, but that’s just fine with most Welton students. They are just going through the motions doing whatever is necessary in order to gain parental approval and Ivy League admission.

Level 1—Action/Behavior: By the end of Act 1, it is clear that while Welton students may not particularly like the school, enjoy belittling its values, and despise their parent’s transference of their success stories upon their lives, they still go along with the flow in overall daily decisions.

The Keating Worldview

Enter the transformation artist

All this changes when the students enter the classroom of Welton’s newest teacher—Mr. Keating (Robin Williams). Like a character in Plato’s cave analogy, Keating has broken free of the bondage of Welton’s limited perspective, and returned to enlighten students still chained to the wall of shadows. Like Morpheus in The Matrix, Keating is determined to “free the minds” of his students in order to help them enter a larger, richer world of the liberal arts.

It is a beautiful story of how great teachers foster worldview change in their students. Keating employs a dizzying teaching arsenal of texts (Walt Whitman, etc.), music (The 1812 Overture), mentorship (“O Captain, my Captain”), learning exercises (standing on desk), challenge (“A sweaty-toothed madman”), and community (The Dead Poets Society) to captivate his students’ imaginations. While at first his classroom is merely, “Weird, but different,” it gradually becomes the focal point of their universe.

The worldview Mr. Keating wants his students to address is robust form of romantic Existentialism, rooted in Physicalism, yet rejecting its pragmatic pessimism.

Make your lives extraordinary!

Level 4—Story/Basis: Walt Whitman and the other romantic poets teach us that even though Physicalism may be scientifically true in that “we are all food for worms,” we can strive to make meaning out of our own brief lives by our own choices and values. Keating’s story is a radical rebellion against both Nihilistic Physicalism that insists that life has no meaning, and the Deism of Welton that insists we live only for the morality and stories of others.  Mr. Keating is not so much interested in his students’ embracing their parents’ story of financial/social success as he is that they live their own story.

Keating: We are food for worms, lads. Believe or not, each and every one of us in this room is going to stop breathing, turn cold, and die… Peruse some of the faces of the past (Welton students) …Did they wait until it was too late to make from their lives even one iota of what they were capable. Because you see, gentlemen, these boys are now fertilizing daffodils. But if you listen real close, you can hear them whisper their legacy to you: (whispered) ‘Carpe Diem! …Seize the day, boys. Make your lives extraordinary.”

Level 3—Values/Principles: Beyond the walls of the physical universe Keating points his students to the Idealistic realm of beauty, love, and meaning that eludes those trapped in the Physicalist worldview. Naturalistic Physicalism would tell us that the universe is a “box” limited by space and time, and accessible only through the physical senses. Our hearts tell us a different story.  There is something more to life than what we can touch, taste, hear, see, and smell.  Poetry points the way to this larger world of values, that can’t be measured “scientifically” like a “length of pipe”[1] nor explained with graphs like J. Evans Pritchard, Ph.D.

Keating then tells his students to rip out the entire introduction to their poetry textbook and has them “huddle up” to hear the real meaning of poetry (and life.)

Keating: We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. Now, medicine, law, business, engineering, these are noble pursuits and necessary for sustaining life, but poetry, beauty, romance, love, these are what we stay alive for.”

This speech is a stunning description of Existential Idealism in its purest Romantic form. And it will not be the last.

Seeing the world from a new perspective

Level 2—Strategies/Culture: Keating’s goal is for his students to stop mimicing and reciting the words of others, and “find your own voice,” and “Learn to think for yourselves again.”

On top of his desk, he gets them to consider life from a new perspective. In the courtyard, he gets them to fall into the trap of walking in conformity to the life of those around us. On the soccer field, he inspires them to reach their full potential.

Watch desk scene here.

Freedom from Physicalism

As I said above, it is liberal arts education at its finest. He is using the arts to liberate his students from seeing life only from their own tradition and preconceptions. (See, The Greco-Roman Liberal Arts.) It is a breathtaking and soul stirring tour de force his students find nearly iresistible.

Slowly, Keating’s students begin to break free from the suffocating gravity of a Physicalist worldview, in order to embrace the broader Idealistic world he has opened up for them….

Level 1—Action/Behavioral: Of course, the movie only gets going once some of the boys actually start acting on Mr. Keating’s worldview.

And that is where the story really gets interesting!

Next: Ideas Have Consequences: The Power and the Limits of Existentialism, Dead Poets Society, Part 2

 

See also:

Hollywood and Higher Education: Teaching Worldview Through the Stories We Live By

Casablanca and the Four Levels of Worldview: Why Everyone Meets at Rick’s 

Crash goes the Worldview: Why Worldview Transformation Requires Changing Scripts

It’s a Wonderful Worldview: Frank Capra’s Theistic Masterpiece

Bungee-Jumping to Eternity: The Existential Angst of Dead Poets Society

Deep Culture: Is Winning an Oscar a Reliable Indicator of a Truly Great Film?

The Blind Side leading the Blind: Better Faith-Based Filmmaking through Better Stories

Related Posts:

Using Zombie Movies to Teach Politics, by Daniel W. Drezner

The Joker Is Satan, and So Are We: René Girard and The Dark Knight, by Charles Bellinger

Echoes of René Girard in the Films of Martin Scorsese: Scapegoats and Redemption on ‘Shutter Island,’ by Cari Myers

Hitchcock and the Scapegoat: René Girard, Violence and Victimization in The Wrong Man, by David Humbert

 

Notes



[1] Perhaps an allusion to George Bailey’s objection to his father’s commitment to the Building and Loan in “It’s a Wonderful Life.”

 

A Divine Masquerade: The Beauty Behind the Mask, by Margaret Feinberg

If we were to take off our masks and give ourselves wholly revealing the beautiful work of God in our lives, then what might God do?

by Margaret Feinberg

Confession: Masks sometimes scare me. Though the artistic flair of a masquerade half mask can be spectacular, full masks make me uncomfortable. Not only is there mystery in whom I’m talking to, but they are too reminiscent of clown makeup for my liking.

The worst part is that sometimes I wear them myself-without even realizing it.

I don a mask of happiness when I’m really struggling inside. I slip on a mask of energy when I’m really exhausted. I know I’m not the only one.

We all slip on masks. We hide parts of ourselves to distract each other from the real identity underneath.

As I’m going through the Gospel of John for Lent, I was reminded of this truth. John 4 depicts the revealing of one woman’s true identity. A Samaritan woman is so desperate to hide from others she fills her water jug during the hottest time of day. Only on this occasion, Jesus is there.

With a few words Jesus tugs at her mask, “Give me a drink.”

The woman is thrown off by the request. With only four words, Jesus breaks down the barriers of gender, politics, and religion.

A man speaks to a woman.

A Jew addresses a Samaritan.

A rabbi asks to drink out of a defiled, unclean bucket.

Rarely has a request for a drink of water been so scandalous.

The woman is no longer invisible. She’s been called out. Jesus moves past any labels of identity given to her either by the townspeople or herself. Instead, Jesus offers her something better than musky well water: living water and the chance to be truly known.

Like the woman at the well, sometimes we need to realize that as hard as we try to hide God not only sees us, but in his love he sees through our efforts to hide.

As the woman’s mask falls to the ground, she refuses to remain hidden from others in her community a moment longer. She rushes into the town, calling out to everyone to come and see the beautiful work Jesus has done in her. They ask Jesus to stay with them and many come to know him as Christ their Savior, the Un-masker.

The woman at the well took off her mask and displayed God’s beautiful work in her life, and an entire village was transformed. Can you picture the scene? A sea of masks tumbling to the floor in a great tumultuous roar.

Which raises the question, if we were to take off our masks and give ourselves wholly revealing the beautiful work of God in our lives, then what might God do? Who would He draw closer to Himself as a result? A friend? A Neighbor? An entire community?

Anyone interested in diving into John’s Gospel with me may enjoy Pursuing God’s Beauty: Stories from the Gospel of John.

 

**Photo courtesy of: http://weheartit.com/entry/13972700