By Gerard Loughlin
Gerard Loughlin is likely one of the best theologians operating on the interface among faith and modern tradition. during this unheard of paintings, he makes use of cinema and the flicks it indicates to consider the church and the visions of wish it screens. It discusses a number of movies, together with "The Alien Quartet", Christopher Nolan's "Memento", Stanley Kubrick's "2001: an area Odyssey and A Clockwork Orange", Nicolas Roeg's "The guy Who Fell to Earth" and Derek Jarman's "The Garden". It attracts on quite a lot of authors, either historic and sleek, spiritual and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to Andre Bazin and Leo Bersani. It makes use of cinema to contemplate the church as an ecclesiacinema, and movies to consider sexual hope as erotic dispossession, as a manner into the lifetime of God. it truly is written from a considerably orthodox Christian viewpoint, right now either Catholic and critical.
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Additional resources for Alien Sex: The Body and Desire in Cinema and Theology
It has to be learned, practised, and practised not just through renunciation but also in dispossessive forms of sexual relationship. This is a venture for the living flesh, the desiring body of Christ, the carnal community that, held in the embrace of the Lord, is shot forth as the arrow from the bow, wounded with the flight of desire. * Guy Pearce’s body, Leonard’s body, is repeatedly undressed in Nolan’s Memento, as Leonard seeks for the clues to his past life that he thinks are written on his skin.
13 ASC01 09/10/2003 03:37 PM Page 6 6 Introduction Levinas’s response to this criticism is reluctant and less than pellucid. ’14 It would appear that Levinas, in admitting his ‘archaic’ use of terms, would not want to deny that woman is also a subject, and that in the man she too can discover the feminine other. ’17 If, biologically speaking, Levinas’s use of ‘masculine’ and ‘feminine’ is gender neutral, why does he not employ non-gendered terms, thus avoiding the cultural figurations of man and woman as ‘virile’ and ‘modest’, ‘active’ and ‘passive’?
The monk’s first task was to divide the text into memorable sections, which the meditating monk could later recollect. 98 Moreover, in recalling scripture we are remembering the future, since scripture shows us what is to come as well as what is past. Memory is never simply melancholic but always also anticipatory, a motive for action. Leonard moves forward by looking back, his scriptural seeds being the collection of notes, photographs and tattoos that he keeps on and about his person, which on each rereading and reordering impel him to new actions.