The remarkable commercial success of Mel Gibson’s The Passion of the Christ in 2004 came as a surprise to the Hollywood establishment, particularly considering the film’s failure to find production funding through a major studio. Since then the Biblical epic, long thought dead in terms of mainstream marketability, has become a viable product. This collection examines the new wave of the genre, which includes such varied examples as Darren Aronofsky’s Noah (2014) and Ridley Scott’s Exodus: Gods and Kings (2014), along with the telenovelas of Latin America. Such texts follow previous traditions while appearing distinct both stylistically and thematically from the Biblical epic in its prime, making academic consideration timely and relevant. Featuring contributions from such scholars as Mikel J. Koven, Andrew B. R. Elliott and Martin Stollery, and a preface from Adele Reinhartz, the book will be of interest to students and scholars of film, television and religion.

With contributions from major scholars such as Mikel J. Koven and Martin Stollery, and a preface by Adele Reinhartz, this collection looks at the new wave of Biblical adaptations from The Passion of the Christ (2004) onwards, taking a range of theoretical positions.

From The Passion of the Christ to Life of Brian, and from The Ten Commandments to Last Temptation of Christ, filmmakers have been adapting the stories of the Bible for over 120 years, from first time the Höritz Passion Play was filmed in the Czech Republic back in 1897. Ever since, these stories have inspired musicals, comedies, sci-fi, surrealist visions and the avant garde not to mention spawning their own genre, the biblical epic. Filmmakers across six continents and from all kinds of religious perspectives (or none at all), have adapted the greatest stories ever told, delighting some and infuriating others. 100 Bible Films is the indispensible guide to this wide and varied output, providing an authoritative but accessible history of biblical adaptations through one hundred of the most interesting and significant biblical films. Richly illustrated with film stills, this book depicts how such films have undertaken a complex negotiation between art, commerce, entertainment and religion. Matthew Page traces the screen history of the biblical stories from the very earliest silent passion plays, via the golden ages of the biblical epic, through to more innovative and controversial later films as well as covering significant TV adaptations. He discusses films made not only by some of our greatest filmmakers, artists such as Martin Scorsese, Jean Luc Godard, Alice Guy, Roberto Rossellini, Pier Paolo Pasolini, Lotte Reiniger, Carl Dreyer and Luis Buñuel, but also those looking to explore their faith or share it with lovers of cinema the world over.

This book centres on the use of the Bible within contemporary digital social media culture and gives an overview of its use online with examples from brand-new research from the CODEC Research Centre at Durham University, UK. It examines the shift from a propositional to a therapeutic approach to faith from a sociological standpoint. The book covers two research projects in particular: the Twitter Gospels and Online Moralistic Therapeutic Deism. It explores the data as they relate to Abby Day’s concept of performative belief, picking up on Mia Lövheim’s challenge to see how this concept works out in digital culture and social media. It also compares the data to various construals of contemporary approaches to faith performative faith, including Christian Smith and Melissa Lundquist Denton’s concept of moralistic therapeutic deism. Other research is also compared to the findings of these projects, including a micro-project on Celebrities and the Bible, to give a wider perspective on these issues in both the UK and the USA. As a sociological exploration of Digital Millennial culture and its relationship to sacred texts, this will be of keen interest to scholars of Biblical studies, religion and digital media, and contemporary lived religion.

Shakespeare is everywhere in contemporary media culture. This book explores the reasons for this dissemination and reassemblage. Ranging widely over American TV drama, it discusses the use of citations in Westworld and The Wire, demonstrating how they tap into but also transform Shakespeare’s preferred themes and concerns. It then examines the presentation of female presidents in shows such as Commander in Chief and House of Cards, revealing how they are modelled on figures of female sovereignty from his plays. Finally, it analyses the specifically Shakespearean dramaturgy of Deadwood and The Americans. Ultimately, the book brings into focus the way serial TV drama appropriates Shakespeare in order to give voice to the unfinished business of the American cultural imaginary.

Friendship and other intimate (but not always amicable) relationships have received some attention in the greater field of research on early Judaism and Christianity, though not as much as deserved. This volume celebrates and builds upon the life-long work of Adele Reinhartz, covering the various permutations of relationships that can be found in the Gospel of John, the wider corpus of early Jewish and Christian literature, and cinematic re-imaginings thereof. While the issue of whether one can 'befriend' the Fourth Gospel in light of the book's legacy of antisemitism is central to many of the essays in this volume, others address other more or less likely friendships: Pilate, Paul, Lazarus, Judas, or Mary Magdalene. Likewise, the bonds between ancient texts and contemporary retellings of their stories feature prominently, with contributors asking what kinds of relationships filmmakers encourage their audiences to have with their subjects. This volume explores some of the rich variety of relationships in the ancient world, and unpacks the intricate and dynamic processes and interactions by which human relationships and societies are generated, maintained, and dissolved.

Since its inception, 007 has captured the hearts of a worldwide audience, and the franchise is now available over multiple media platforms, including movie, comic strips, games, graphic novels and fashion statements. This edited collection examines the role that gender has played across the platforms that the James Bond franchise now occupies.