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Film is far and away the most prevalent artistic medium that our society interacts with and therefore it is no surprise that one of the fastest growing theological disciplines is that of theologies of film. Sadly the direction this field is headed (or is already in) is a bit concerning. Over the winter break I read through the most popular evangelical introduction to the theological analysis of film in Robert Johnston’s Reel Spirituality. Johnston, an evangelical uses his own "transcendent" experience he had while watching Becket with Richard Burton and Peter O’Toole to argue for film being an important avenue for experiencing the Divine. Working (dubiously) with Barth’s concept of “parables of the kingdom," Johnson describes the cinema as a place where God can meet men and women on their own turf. Since many in our society no longer see the need for church, movies are a legitimate medium for spiritual experiences.
Johnston along with other pioneers in the emerging discipline of theology and film rely on the work of Paul Tillich and Jürgen Moltmann. For Tillich the Divine Spirit is manifest in the human spirit in both morality and culture. In relation to film when we witness the power and ingenuity of the human spirit on screen we experience the uppercase "S" Spirit of God. Drawing upon the work of Moltmann the Spirit's work is extended to all of creation where we are faced with the paradox of "immanent transcendence" in all of life. Johnston interacting with Tillich and Moltmann writes, "If the Spirit is active in and through the human spirit, then the potential for the sacred is present across our human endeavor. Yet Christian theology, though it might give lip service to the presence of the Spirit in all of life, continues largely to ignore such works of the Spirit in the mundane, the ordinary experiences of life" (Reel Spirituality, 97).
It is interesting and rather predictable that the church’s relationship to Hollywood seems to be on a pendulum that swings from total abstention and disdain to sacramentalizing the big screen. What this tells me is that for those of us who love the medium of film and understand that for the forseeable future it isn't going away, we have the important task of teaching our people how to be movie watchers. The question isn't whether our people will be seeing movies, but rather what movies will they be seeing? Those of us who see the artistic value of film and recognize that it isn't going away any time soon must teach our people to go to the cineplex able to discern both artistically and theologically what they are seeing before them. Theological presuppositions such as a robust view of common grace and the image of God must undergird the experience of going to the movies. We don't go to movies to find God but to experience the artistic gifts of men and women made in the image of God. Like a great novel we go to films to understand human nature better. To experience worlds unimaginablly different than our own.
To conclude, Kevin Vanhoozer best describes our role as Christians as we seek to better engage the culture around us. "The church is to be a community of interpreters. The church interprets what is going on in culture by offering theologically thick descriptions that inscribe our everyday world into the created, fallen, and redeemed world narrated in Scripture" (Everyday Theology, 55). More later on what it means to make our people better interpreters of film and all of life.
