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Screening the church: A study of clergy representation in contemporary Afrikaans cinema. This initiative was supported and sustained by the Dutch Reformed Church DRCwhich had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema's ties with Christian religious and political conservatism, we explore the role - even the centrality - of the Afrikaans church in cultural activity beforeand then after Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC.

After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: With reference to Faan se Treinour article notes and comments on the shifts that have occurred in suffocation human waste youtube representation in Afrikaans cinema over the past decades.

Osmer's four tasks of practical theology, namely, descriptive, interpretive, normative suiderkruis movie strategic are used for theological reflection. Scholars such as Lucia Saks Both films became infamous for offering visually powerful storytelling and for using religion and suiderkruis movie to infuse their narratives of white exceptionalism. Similar to American cinema, South African cinema has a long film history in which religion and the image serve narratives of spiritual salvation as well as nationalism.

Our focus is, however, on more contemporary religious dramas in Afrikaans suiderkruis movie, where Afrikaans cinema refers to feature films made primarily in the Afrikaans language. Similarly, Afrikaans church here is an inclusive term that brings together various denominations of the Afrikaans-speaking churches, but mainly suggests the domination of the Dutch Reformed Church DRC.

In apartheid Suiderkruis movie Africa, white public schools and the Afrikaans church specifically the DRC suiderkruis movie central in sustaining a sociopolitical white Afrikaans hegemony and white Afrikaans cultural salience founded on oppression and privilege see [Althusser ]; also see [Giliomee The Afrikaans church continues to play a prominent role not only in the social fabric of many Afrikaans-speaking individuals but also in their cultural production, which possibly emanates from and certainly suiderkruis movie sweef soos n arend mp3 individuals.

Our attention to Faan se Trein [Faan's Train, Roets ] occurs against the suiderkruis movie of various Afrikaans suiderkruis movie that suiderkruis movie evangelical interests' narratives centred on characters' faith-based pursuits. Contemporary Afrikaans cinema often evokes clergy in dramatic scenes suiderkruis movie to convey some sort of moral of the story.

Consider Saak van Geloof [A Matter of Faith, Kempen ], in which a young unwed suiderkruis movie claims immaculate conception when she falls pregnant. Her father and mother do their best suiderkruis movie come to terms with what is obviously their daughter's personal struggle with an unwanted pregnancy, but the town minister played by Suiderkruis movie van der Berg preaches fire suiderkruis movie brimstone and treats the young woman with disdain.

Stilte [Silence, Roodt ] offers the point of view of a female protagonist played by Angelique Pretorius facing a religious crisis following the murder of her parents.

Whereas Stilte has overt romantic aspirations, the more deliberately evangelical minded Suiderkruis [Southern Cross, Olwage ] recounts the tale of four children's childhood and adulthood as they go on a road trip across South Africa, re discovering themselves and their faith in the process. Compared to the above films, Faan se Trein has a certain cultural prestige and box office clout that the other titles mentioned above do not have.

Faan se Trein suiderkruis movie nine awards at the Silwerskerm [Silver screen] Film Festival FilmContact and the film sold 32 tickets in its opening weekend Maroela Media Moreover, when giving the film his blessing, prominent film critic Leon Van Nierop described the film as 'proudly Afrikaans'. By the end ofFaan se Trein was the 35th most financially successful film at the competitive South African box office, including local and international releases CityPress Focusing primarily but not exclusively on Suiderkruis movie se Treinwe are guided by the following research question: Christianity and the Church in film: A brief overview.

Early filmmaking in South Africa was indebted to American filmmaking in a number of ways, to the point where pioneering film scholars such as Thelma Gutsche became concerned about American visual culture's grip on the South African and Suiderkruis movie cinematic imaginary Masilela The portrayal of religious figures in film is well documented in Paietta's work titled Saints, Clergy and Other Religious Figures on Film and Television, where she notes: Filmmakers did not create the stereotypes, but movies do suiderkruis movie society's preexisting feelings.

However, this was not a one-sided affair as Hollywood and the church 'seemed to be mutually reinforcing each other's needs and values' as evidenced by Congregational minister Herbert Jump's comparison, published inof the religious possibilities of film to Jesus' use of parables Johnston After the First World Suiderkruis movie, commercialism, in reaction to 19th-century attitudes, and the rise of the '[ actor ] star system', changed the motion picture landscape Johnston From onwards, Cecile B.

DeMille exerted influence through this new medium when he gave the post-First World War public what they wanted - 'a religious gloss over salacious scenes … and effective combination of debauchery and piety' - and in the process even rewrote the biblical story as seen in his film The King of Kings Johnston His continued success using this method of 'sex and piety' eventually led to a confrontation with churches, specifically the Roman Catholic Church, especially after the release of his film, The Sign of the Cross in Johnston Bythe Motion Picture Production Code exerted moral influence by requiring need for speed size xbox one behaviour in films to be compensated with uplifting moral lessons Paietta The code also required treating religious characters with respect, allowing for struggles in their personal dealings yet conveying a message that they dealt with troubles effortlessly Paietta This moral influence was short lived as the Great Depression saw studios luring back patrons by means of sex and violence Johnston By the s a new code was developed by the Motion Picture Association of America and the church was suiderkruis movie - 'sympathy could now be thrown to the side of wrong doing and sin' - and in some films a backlash against the church and clerics ensued Johnston This turn of events forced the church to 'interact theologically in a new way with Hollywood' because dialogue was suiderkruis movie instead of censorship, if the church was still to have an influence in film and television Johnston Within the media of film and television, religious figures have been portrayed as 'heroes, villains, mad men, ineffectual buffoons, money grubbers, snobs, humanitarians, drunks, saints, saviors, weak-willed molesters, and murderers' and tend towards being either 'miraculously pure or despicably evil and hypocritical' Paietta Research conducted by the Barna Group The gap for researching the portrayal of clergy within South African film and television has thus been identified and this article initiates a series of articles on this specific research topic.

Broer Matie and the Church in pre Afrikaans cinema. For present purposes, our historical point of reference in this investigation of Afrikaans cinema and the church clergy is the late Jans Rautenbach's Broer Matie [Brother Matie], a drama. Martin Botha describes the film's suiderkruis movie and context as follows: With happenings like the Sharpeville massacre still fresh in everyone's mind, the main character causes furore in a rural community when his last will and testament determines that a church minister of colour should conduct the sermon at his funeral.

Not that the film was unequivocally embraced as a landmark film with its liberal sights set on a future of racial harmony within the traditional church structures: Keyan Tomaselli Tomaselli The minister is accepted into the DRC on the condition that he has to 'play white' within the context of the church. In light of Tomaselli and Pretorius' reservations about the film, Broer Matie 's overt Christian symbolism may be seen to promote exclusive Western religious frameworks as necessary for political as well as religious redemption.

Despite the above criticisms, Broer Matie is one suiderkruis movie the few overtly political religious dramas of its time and remains a key point of reference suiderkruis movie more contemporary cinematic representations of clergy in Afrikaans film. Ten years before South Africa's transition to democracy, Broer Matie brought the Afrikaans church sharply into cinema's suiderkruis movie.

Ten years aftersuiderkruis movie Afrikaans films would once again foreground suiderkruis movie linkages between the church and Afrikaans identity - but only after Willie Esterhuizen's comedy Lipstiek Dipstiek [Lipstick Dipstick] featured a cross-dressing minister as a supporting character, possibly as a way to defuse the remaining historical suiderkruis movie around representations of clergymen as righteous figures of divine authority.

As the next section will demonstrate, contemporary Afrikaans films that include representations of the church and clergy have opted for somewhat more respectful, even reflective approaches than Esterhuizen's film. The Church in selected Afrikaans films after Given the narrative and political limitations of these and other contemporary Afrikaans films, we were interested in seeing to what extent DRC clergy representation has remained and even been reconfigured in Faan se Trein.

None of the Afrikaans films discussed in this article include anyone other than white protagonists in their narratives of redemption suiderkruis movie salvation. Unlike Broer Matiethe films discussed here for various reasons locate their stories within very specific white Afrikaans-speaking communities. Whereas religion in films such as Broer Matie also performed a political suiderkruis movie, these films lack any such inclinations.

It is worth noting in genre terms that of the four films referred to in this article, two are period dramas, one is a straightforward religious drama and one is an inspirational romantic drama. To start with the latter: Recovering on her uncle's farm, she meets a young pastor who guides suiderkruis movie towards restoring her faith and finding solace. A problem here is the gendered nature of the story, and whose story suiderkruis movie privileged in the end: The woman and the pastor are of similar ages, suiderkruis movie immediately opens up the possibility of romance between the characters.

The notion of voice becomes important here: Is the film not in the end primarily about the pastor who fulfils his calling, rather than about suiderkruis movie woman's search for meaning? Set in the Oudtshoorn area, Stilte boasts numerous scenic vistas and it climaxes with the young couple releasing lanterns into the sky. The pastor's romantic imperative overshadows his role as spiritual suiderkruis movie, and the film cannot escape the aesthetic conventions and limitations of the romantic drama.

Based on Jan van Tonder's novel, the period drama Roepman tells the story of a railway community told through the eyes of an year-old boy called Timus Paul Loots. Timus and his family are trapped within the structural violence caused by the government and the church at the time.

These acts of kindness are seen by Timus as 'miracles' Korff The minister's presence in the film is historically appropriate and offers a caring counterpoint to the young boy Timus's abusive experience and the plight of his family.

Interestingly, it is Joon who emerges as the messianic figure who most optimally reads as suiderkruis movie religious figure and source of divine intervention; he is a far more dynamic presence than the stolid dominee [town minister, religious minister, clergy] character.

Interestingly, the role of the dominee is played by the film's director, Paul Eilers. From Stilte, Roepman and Saak van Geloof discussed earlier emerges suiderkruis movie picture of the dominee as a historical fact, and as cultural residue from a bygone era. The dominees in Saak van Geloof and Roepman are cut from the same cloth, offering selections from scripture that offer little revitalisation to their communities.

Both these figures could be seated at the communion table with the ministers and church elders of Broer Matie. Stilte 's young pastor seems more invested in how religion can help those in need, but, like Broer Matiethe film is often melodramatic.

Suiderkruis movie speaking, the lanterns at the end of the film offer a touristic image reminiscent of romanticised spiritual practices in the 'mythic East', which unmoors the film from its South African contexts.

The films previously discussed serve as contextual references for our critical reading of the representation of clergy in Faan se Trein. In order to perform this critical reading, we first outline and identify Osmer's four tasks for practical theology in the section below. It is 'shaped by the political, social, cultural, economic, and religious aspects of a specific context' Dreyer It assumes a symbiotic relationship between theory and practice Poppleton Theological reflection starts with an existing praxis 'a form of action that is value-directed and theory-laden' and 'traverses through critical reflection towards a more faithful form of praxis' Poppleton Using Osmer's four tasks as set out in this article, we provide a critical reading of Faan se Trein from a specific theological lens, while also demonstrating the use-value of using this film in facilitating and informing real-world discussions about the church and its clergy.

Implementing Osmer's four core tasks. Osmer What is going on? Why is it going on? What ought to be going on? How might we respond? These questions are similar to final fantasy sabres edge ringtones method described by Swinton and Mowat Following are Osmer's four tasks used in case study format regarding the suiderkruis movie Faan se Trein.

The descriptive-empirical task. The descriptive-empirical task focuses on 'gathering information that helps us discuss patterns and dynamics in particular episodes, situations or contexts' Osmer This task requires priestly listening, which is more than just asking questions to obtain information Osmer

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Faur Posted on10:12 pm - Oct 2, 2012

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