tag:blogger.com,1999:blog-15264500.post5720541706682772639..comments2023-07-11T05:13:06.461-06:00Comments on Morehead's Musings: Film and Faith Course at Salt Lake Theological SeminaryJohn W. Moreheadhttp://www.blogger.com/profile/01262542253787543738noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-15264500.post-60104443701135902082007-07-10T03:56:00.000-06:002007-07-10T03:56:00.000-06:00As promised, I have done a piece on andAs promised, I have done a piece on <A HREF="http://soundandsilence.wordpress.com/2007/07/10/contemporary-wordless-cinema" REL="nofollow"/> and <A HREF="http://soundandsilence.wordpress.com/2007/05/07/the-smaller-picture" REL="nofollow"/>Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-15264500.post-56237203059477943382007-07-09T08:40:00.000-06:002007-07-09T08:40:00.000-06:00I'm not quite sure how to respond directly to your...I'm not quite sure how to respond directly to your questions, Nic. The purpose of the film course at Salt Lake Seminary is to help students identify various ways in which Christians have approached film, running a spectrum from avoidance to recognizing divine encounter. This is Robert Johnston's typology that parallels Niebuhr's on interactions with culture.<BR/><BR/>I then built on this in our first session and used the work of Gordon Lynch to suggest that one way of engagement is to use film as a means of theological reflection. The film clips I showed from Minority Report and Devil's Advocate lend themselves to discussion of free will, divine foreknowledge and theodicy.<BR/><BR/>But I'm intrigued by your film work. I'd love ot hear more.John W. Moreheadhttps://www.blogger.com/profile/01262542253787543738noreply@blogger.comtag:blogger.com,1999:blog-15264500.post-75972857251903472032007-07-09T06:48:00.000-06:002007-07-09T06:48:00.000-06:00Hi JohnI hope this went well.I wanted to ask you i...Hi John<BR/>I hope this went well.<BR/>I wanted to ask you if you had formulated any thoughts about might we say hyper-short form film, specifically as utilised in VJ culture.<BR/><BR/>My angle on this is largely liturgical ie how can moving image be used in worship. And how short form contrasts with longer narrative approaches.<BR/><BR/>Related to this, I have recently been through a filmic epiphany; being bowled over by non-dialog, non-plot, non-actor long form works of Godfrey Reggio and Ron Frieke, most notably Koyaanisqatsi (1983) and Baraka (1992) but also including One Giant Leap and Nagoyaqatsi.<BR/><BR/>I am challenged to recognise these as sacred to the core, reflective, celebratory and critical all at the same time.Anonymousnoreply@blogger.com