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020 _a9780292754737
_qPDF
024 7 _a10.7560/754720
_2doi
035 _a(DE-B1597)9780292754737
035 _a(DE-B1597)587319
035 _a(OCoLC)1286806962
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1995.9.S45
_bC86 2014eb
072 7 _aPER000000
_2bisacsh
082 0 4 _a175
_223
084 _aonline - DeGruyter
100 1 _aCutrara, Daniel S.
_eautore
245 1 0 _aWicked Cinema :
_bSex and Religion on Screen /
_cDaniel S. Cutrara.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2014
300 _a1 online resource (280 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tPreface --
_tIntroduction --
_tChapter one. Sex and Religion: At Ground Zero of the Culture Wars --
_tChapter two. Faith: Transgressing Gender and the Possibility of God --
_tChapter three. The Faithful: Freedom and Fanaticism --
_tChapter four. Sacred Servants: Desiring the Forbidden --
_tChapter five. Transgressing Divinity: Gospels of Envy --
_tChapter six. The Believer in Bondage --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aFrom struggles over identity politics in the 1990s to current concerns about a clash of civilizations between Islam and Christianity, culture wars play a prominent role in the twenty-first century. Movies help to define and drive these conflicts by both reflecting and shaping cultural norms, as well as showing what violates those norms. In this pathfinding book, Daniel S. Cutrara employs queer theory, cultural studies, theological studies, and film studies to investigate how cinema represents and often denigrates religion and religious believers—an issue that has received little attention in film studies, despite the fact that faith in its varied manifestations is at the heart of so many cultural conflicts today. Wicked Cinema examines films from the United States, Europe, and the Middle East, including Crimes and Misdemeanors, The Circle, Breaking the Waves, Closed Doors, Agnes of God, Priest, The Last Temptation of Christ, and Dogma. Central to all of the films is their protagonists’ struggles with sexual transgression and traditional belief systems within Christianity, Judaism, or Islam—a struggle, Cutrara argues, that positions believers as the Other and magnifies the abuses of religion while ignoring its positive aspects. Uncovering a hazardous web of ideological assumptions informed by patriarchy, the spirit/flesh dichotomy, and heteronormativity, Cutrara demonstrates that ultimately these films emphasize the “Otherness” of the faithful through a variety of strategies commonly used to denigrate the queer, from erasing their existence, to using feminization to make them appear weak, to presenting them as dangerous fanatics.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aMotion pictures
_xMoral and ethical aspects.
650 0 _aReligion in motion pictures.
650 0 _aSex in motion pictures.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/754720
856 4 0 _uhttps://www.degruyter.com/isbn/9780292754737
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292754737/original
942 _cEB
999 _c188114
_d188114