예수영화 THE JESUS FILM의 원형과 그 흐름

Abstract

The scene neatly sums up one of the main challenges faced by films about the life of Jesus: namely, overfamiliarity. Jesus has been represented in paintings, sculptures, and stained-glass windows for centuries; since the invention of moving pictures in the 1890s, he has also been a perennial subject in films. All these portrayals tend to fuse together in the popular imagination; audiences think they've seen it all before, and they can remain blind to the unique perspective each film sheds on the life of Jesus and his relationship to modern moviegoers. The life of Jesus has always provided controversial subject matter for filmmakers. Of course, it's one thing to bring a religious perspective to the film industry in general and quite another to find the founder of Christianity in film. Fortunately, in the past decade, the biblical epic in general, and the Jesus film in particular, have begun to at tract a more positive . No interpretation of the life of Christ can ever tell the full story. That is, indeed, one of the reasons we have four Gospels; each one paints a unique portrait of the Savior and emphasizes a different set of themes. Similarly, no mere movie about Jesus can capture the fullness of his divinity, or the fullness of his humanity, no matter how sincere its makers are; but the better films can help us to see a small part of the bigger picture. But there is a second challenge faced by films about Jesus, which is also addressed in that scene from alternative Jesus films : hostility. Directors who put too unique a spin on the life of Jesus are met with controversy, much of it loud and unthinking, and the debates that swirl around their films tend to fall along a predictable faultline, pitting repressive authority against artistic freedom. The deeper issues raised by such films get lost in all the sound and fury. And in new century, the different new access method is started from Jesus motion picture.