The Bible Onscreen in the New Millennium: New Heart and New Spirit

The Bible Onscreen in the New Millennium:
New Heart and New Spirit

Edited by Wickham Clayton

Manchester University Press (2020)
296 pages - Hardback
ISBN 978-1526136572
Publication Date: 13/1/2020

I've been meaning to post about the forthcoming publication of the latest book to feature an essay of mine. "The Bible Onscreen in the New Millennium: New Heart and New Spirit" will feature 14 essays by various film scholars on the biblical epics to have emerged since The Passion of the Christ in 2004. I'm particularly pleased that it's being published by Manchester University Press whose book "Biblical Epics" by Bruce Babington and Peter William Evans is one of the seminal works in this field.

My chapter is called "The Nativity Re-Born: Genre and the Birth and Childhood of Jesus" and in it I discuss various Nativity films released since The Passion and how they have stayed true to or innovated with the conventions of the genre. As well as the link with MUP it's also pleasing to be contributing to a book compiled with cinema scholars in mind rather than those approaching the theological angle. It's nice to have contributed to both.

The book is already available to order online. In the meantime, you can read a little more about the book at the Manchester University Press website, and I have posted a list of the contributions below.

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The Bible Onscreen in the New Millennium: New Heart and New Spirit

Introduction - Wickham Clayton
Part I: Producing Biblical Film and Television
1-Battle over the Biblical Epic: Hollywood, Christians and the American Culture Wars - Karen Patricia Heath
2-Depicting 'Biblical' Narratives: A Test Case on Noah - Peter Phillips
3-Special Effects and CGI in the Biblical Epic Film - Andrew B. R. Elliott
4-The Phenomenon of Biblical Telenovelas in Latin America - Clarice Greco, Mariana Marques De Lima and Tissiana Nogueira Pereira

Part II: Modern Narratives and Contexts in Adapting the Bible
5-Mythic Cinema And the Contemporary Biblical Epic - Mikel J. Koven
6-The Nativity Re-Born: Genre and the Birth and Childhood of Jesus - Matthew Page
7-Convince Me: Conversion Narratives in the Modern Biblical Epic - Chris Davies

Part III: Critical Readings and Receptions
8-Controversy And the 'Culture War': Exploring Tensions Between the Secular and the Sacred In Noah, the 'Least Biblical Biblical Movie Ever' - Becky Bartlett
9-'Can Anything Good Come Out Of Southern California?'* (*Hyperlink to John 1:46): The Christian Critical Reception of Elliptical Jesus Narratives - Wickham Clayton
10-Examining the Digital Religion Paradigm: A Mixed-Method Analysis of Online Community Perception of Epic Biblical Movies - Gregory P. Perrault And Thomas S. Mueller

Part IV: Culture And Representation
11-The Devil and the Culture Wars: Demonising Controversy in The Last Temptation of Christ and The Passion Of The Christ - Karra Shimabukuro
12-Ben-Her(?): Soft Stardom, Melodrama, and the Critique of Epic Masculinity In Ben-Hur (2016) - Thomas J. West III
13-The Biblical-Trial Film: Social Contexts in L'Inchiesta and Risen - Fernando Gabriel Pagnoni Berns and Emiliano Aguilar
14-'Squint Against the Grandeur': Iconoclasm and Film Genre in The Passion of the Christ and Hail, Caesar!

Trop tôt/Trop tard Too Early/Too Late

Trop tôt/Trop tard (Too Early/Too Late, 1981) is Huillet and Straub's other film set in Egypt, only here it is documentary rather than drama. Before getting to Egypt though the film begins in France. The film's opening shot is one of its two most memorable - a six and a half minute rotational pan, (presumably shot from the side of a vehicle) going round and round the Place de la Bastille in France. It's a clear signifier of what is to follow - an exploration of the cycle of revolutions in France and Egypt. There's no doubt a pun here, revolutions of the camera in a film about revolutions. Most of the rest of the film, both the French and the Egyptian segments comprise of a series of long takes, either static, or panning, often in complete circles.

Whilst this is happening two monologues are read out. Firstly there is a letter by Freidrich Engels detailing the extent of poverty in various villages and towns in pre-Revolution France. Then there are longer sections from the Cahiers de Doléances. These are read out by Huillet herself and is accompanied by images of the relevant locations today. Usually they are peaceful, places where people largely are not and the calmness of the imagery and (as ever, direct) sound belies the grim statistics that are being recited. One notable example is a shot of the side of a rural building upon which someone has graffitied "Les paysons se revolteront 1976" (the countries will revolt 1976) in big red letters. It is at this point that Huillet reaches the passage that includes the film's title, the point being that "the peasants always start the revolt too early and, then when it comes to seizing power, they arrive too late" (Pummer, 2016: 60). Engels was writing on the eve of the 1789 revolution in France.

In the Egyptian segment, the reading is more recent, the author Bahgat Elnadi reads from the book he wrote with Adel Riffat under the pseudonym Mahmoud Hussein about the overthrow of British colonial powers. The film's most famous shot, is a ten minute static diagonal shot of workers leaving a factory in Egypt. The nature of the shot recalls the Lumière Brothers Workers Leaving the Lumière Factory (1895). The section is considerably longer here, but the parallels between the two segments are apparent. That said there is one stark contrast: whilst the French footage is deserted, the Egyptian footage is peppered with human activity. The camera maintains a discreet distance, in an attempt not to interfere with the world they wish to document; "their respectful distance allows for the anonymous Egyptian peasants and workers to...occupy and traverse the space entirely on their own terms" (Small 2019).This is documentary filmmaking at the opposite end of the spectrum to the vox pop heavy style of our own era.

There are various similarities with Straub and Huillet's other work here, in particular Fortini/Cani (1978) which similarly accompanies a writer's work with images of the described locations today, but also the long tracking shots of History Lessons (1972) and The Bridegroom, the Actress and the Pimp (1968). And of course, the handful of shots in Moses und Aron (1974) taken in Egypt.

It's a film that has the ability to create startling reactions. At one point Jonathan Rosenbaum put it on his all-time top ten list for "Sight and Sound". "The extraordinary result of this technique is that one almost feels able to taste these places, to contemplate them – to observe and think about them" (Rosenbaum 1983). Many have looked at Huillet and Straub's films and conclude that nothing really happens. But in fact, the second half of the film is teeming with activity if you observe closely enough, it is just that they keep a respectful distance from us just as they do to the characters who move across the screen. No matter where people are in relation to their camera and their screen, they do not tell us how to act and react.

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Pummer, Claudia (2016), "(Not Only) for Children and Caveman: The Films of Jean-Marie Straub and Danièle Huillet", in Ted Fendt (ed.), Jean-Marie Straub and Danièle Huillet, Vienna: Synema Publikationen.

Rosenbaum, Joanthan (1983), Film: The Front Line, Denver: Arden Press.

Small, Christopher (2019), "A Straub-Huillet Companion: Too Early, Too Late", mubi.com Notebook Column, August 6, Available online: https://mubi.com/notebook/posts/a-straub-huillet-companion-too-early-too-late.