THESIS a REASON to BELIEVE: a RHETORICAL ANALYSIS of MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communic

Total Page:16

File Type:pdf, Size:1020Kb

THESIS a REASON to BELIEVE: a RHETORICAL ANALYSIS of MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communic THESIS A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee Advisor: Carl Burgchardt Eric Aoki Kathleen Kiefer ABSTRACT A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS In this analysis, I examine Mormon cinema and how it functions on a rhetorical level. I specifically focus on missionary films, or movies that are framed by LDS missionary narratives. Through an analysis of two LDS missionary films, namely Richard Dutcher’s God’s Army (2000) and Mitch Davis’ The Other Side of Heaven (2001), I uncover two rhetorical approaches to fostering spirituality. In my first analysis, I argue that God’s Army presents two pathways to spirituality: one which produces positive consequences for the characters, and the other which produces negative consequences. I call these pathways, respectively, ascending and descending spirituality, and I explore the rhetorical implications of this framing. In my second analysis, I contend that The Other Side of Heaven creates a rhetorical space wherein the audience may transform. Specifically, the film constructs a “Zion,” or a heaven on earth, with three necessary components, which coincide perfectly with established LDS teachings: God, people, and place. These three elements invite the audience to accept that they are imperfect, yet they can improve if they so desire. Ultimately, by comparing my findings from both films, I argue that the films’ rhetorical strategies are well constructed to potentially reinforce beliefs for Mormon audiences, and they also may invite non-Mormons to think more positively about LDS teachings. ii ACKNOWLEDGEMENTS I would like to acknowledge my parents for always encouraging me to further my education, the Communication Studies professors at Utah State University for guiding me towards a graduate degree, Dr. Jennifer Peeples for showing me the power of studying rhetoric, and the Communication professors at Colorado State University for giving me exactly what I needed to progress. I would like to recognize my roommates, Adam and Andrew Groth, for keeping me sane and for making me laugh. I would like to thank my colleagues Chris Fischer, Jared Bendel, Linnea Suddeth, and Sam Ernst for being good friends and for lightening my spirits. I would like to thank my thesis committee, Dr. Eric Aoki and Dr. Kathleen Kiefer, for their support and feedback. Lastly, I would like to acknowledge Dr. Carl Burgchardt for being such an academic rebel and for taking me under his watchful care. My hope is that I may someday emulate his wit, his passion for learning, his dedication to our field of study, and his care for his students. iii TABLE OF CONTENTS I. An Introduction to Mormon Cinema and Fifth-Wave Missionary Films .................................... 1 Overview of Mormon Missionary Cinema ......................................................................... 2 Review of Literature............................................................................................................ 8 Definitions and History of Mormon Cinema .......................................................... 8 Examining LDS Films ........................................................................................... 17 Mediated Mormon Identity ................................................................................... 22 Method, Context, and Structure of the Analysis ............................................................... 25 Stated Intent and Reception of God’s Army .......................................................... 28 Stated Intent and Reception of The Other Side of Heaven .................................... 31 II. Ascending and Descending Spirituality in God’s Army ........................................................... 36 Plot Description ................................................................................................................. 36 Ascending and Descending Spirituality ............................................................................ 38 Dalton and Kinegar as Ascending and Descending Spirituality ........................... 39 Light, Dark, and Spiritual Struggles ..................................................................... 53 Characters’ Spiritual Challenges and Choices ...................................................... 61 III. Zion as Rhetorical Space in The Other Side of Heaven .......................................................... 69 Plot Description ................................................................................................................. 70 Zion as Rhetorical Space ................................................................................................... 71 Portraying Zion’s God ........................................................................................... 73 Portraying Zion’s People ....................................................................................... 83 Portraying Zion’s Place ......................................................................................... 92 IV. A Rhetoric of Mormon Missionary Films............................................................................. 104 The Films’ Shared Themes ............................................................................................. 107 Living the Spiritual Life ...................................................................................... 107 Defeating Evil ..................................................................................................... 109 Death as Spiritual Life......................................................................................... 111 Filmic Actuality as Spirituality ........................................................................... 114 The Films’ Rhetorical Effectiveness ............................................................................... 115 Implications of the Analysis ............................................................................................ 116 Endnotes ...................................................................................................................................... 124 Works Cited................................................................................................................................. 125 iv I. An Introduction to Mormon Cinema and Fifth-Wave Missionary Films Media texts such as film may include intentional and unintentional, explicit and implicit, persuasive elements. This is particularly the case with films produced by (and for) a particular community, as evidenced by queer, Black, or Christian cinema. Religious cinema, or films associated with a particular religious community, may include many overlapping layers of intent, including such seemingly innocuous acts as entertainment, as well as more profound goals such as providing spiritual guidance or proselyting. 1 One specific genre of religious-community films can be identified as “Mormon cinema,” which includes films produced by and for the Mormon community, or members of The Church of Jesus Christ of Latter-day Saints (also known as the LDS Church). In this analysis, I examine Mormon cinema and how it functions on a rhetorical level. I specifically focus on missionary films, or movies that are framed by LDS missionary narratives. My aim is to reveal the lens that Mormons use to understand humanity and how this lens acts as a means to persuade. I analyze these films without a priori theoretical assumptions in order to give me the liberty to reveal whatever relevant rhetorical strategies I discover. I simply attempt to discern and discuss how these films work rhetorically in the specific context of LDS culture, as well has how they might function for non-LDS audiences. Through an analysis of two LDS missionary films, namely Richard Dutcher’s God’s Army (2000) and Mitch Davis’ The Other Side of Heaven (2001), I uncover two rhetorical approaches to spirituality. In my first analysis, I argue that God’s Army presents two pathways to spirituality: one which produces positive consequences for the characters, and the other which produces negative consequences. I call these pathways, respectively, ascending and descending spirituality, and I further discuss the rhetorical implications of this framing. The two disparate 1 modes of spirituality propose that following certain beliefs will be rewarded by becoming more like God. In my second analysis, I contend that The Other Side of Heaven creates a rhetorical space wherein the audience may transform. Specifically, the film constructs a “Zion,” or a heaven on earth, with three necessary components according to LDS teachings: God, people, and place. These three elements invite the audience to accept that they are imperfect, and that they can improve if they so desire. Ultimately, by comparing my findings from both films, I argue that the films’ rhetorical strategies have the potential to reinforce beliefs for Mormon audiences and may also invite non-Mormons to think more positively about LDS doctrines. The films are constructed in such a way as to potentially act as cinematic sermons that may allow the audience to experience spirituality, particularly through the lens of Mormon teachings. In this introductory chapter, I give a brief overview of Mormon cinema and its rhetorical nature. I then summarize
Recommended publications
  • During His Tenure As Head of the BYU Motion Picture Studio, Wetzel O
    During his tenure as head of the BYU Motion Picture Studio, Wetzel O. “Judge” Whitaker directed and produced scores of institutional films, including Church classics such as Windows of Heaven (1963), Man’s Search for Happiness (1964), and Johnny Lingo (1969). He is arguably the most important figure in the history of Mormon film. LDS Church Archives, © Intellectual Reserve, Inc. A History of Mormon Cinema: Third Wave V 77 The Third Wave: Judge Whitaker and the Classical Era (1953–1974) The Third Wave of Mormon cinema is unquestionably the age of Judge Whitaker. He represents the development of Mormon film from its pioneer infancy into classical maturity. The similarities to Hollywood’s classical era are numerous (with important exceptions). Most obviously, Mormon film finally left behind the multitasking artisanal mode of prior decades in favor of a studio-based industrial infrastructure featuring spe- cialized workers. Equally important, the BYU studio produced films of an identifiable, consistent, and aesthetically and culturally conservative style deeply rooted in Hollywood norms. It supplied a steady stream of products to a vertically integrated distribution and exhibition network. Finally, and perhaps most importantly, Church films compare to Hollywood films— and other classical artworks—in their permeating influence upon their host culture. During Whitaker’s tenure, Church films became central to Mormon culture and created a universal doctrinal, cultural, and aesthetic touchstone for Latter-day Saints, to the point that today it is difficult to conceive of the Church without its films and videos. And Judge Whitaker, for his part, has had more influence on Mormon filmmaking than any other person.
    [Show full text]
  • The Mission of the Twelve to England, 1840-41: Mormon Apostles and the Working Classes
    BYU Studies Quarterly Volume 15 Issue 4 Article 11 10-1-1975 The Mission of the Twelve to England, 1840-41: Mormon Apostles and the Working Classes James B. Allen Malcom R. Thorp Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Allen, James B. and Thorp, Malcom R. (1975) "The Mission of the Twelve to England, 1840-41: Mormon Apostles and the Working Classes," BYU Studies Quarterly: Vol. 15 : Iss. 4 , Article 11. Available at: https://scholarsarchive.byu.edu/byusq/vol15/iss4/11 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Allen and Thorp: The Mission of the Twelve to England, 1840-41: Mormon Apostles an the mission of the twelve to england 1840411840 41 mormon apostles and the working classes james B allenailenand malcom R thorp james palmer stone mason and bricklayer was born in 1820 in the small parish of dymock in Gloucestergloucestershireshire en- gland after only four years formal schooling which included considerable bible study young james was apprenticed out by his parents such apprenticeships often lasted for seven years but in this case the boy chafeechafed at the strict regimen and bad treatment he received until one day his resentment overflowed in a doubled up fist which knocked his unsuspecting master to the ground life as an apprentice
    [Show full text]
  • Teaching Like a Spiritual Rock Star
    Teaching Like a Spiritual Rock Star Jeff Birk LLDS:​ So Jeff, how are you? Birk:​ I'm doing great, Kirk. Thanks for having me on. This is just an honor (00:00:30) and I am really excited to share some cool stuff with everybody. LLDS:​ Nice. Well maybe one thing and I want you to tell us a little about yourself, but just so nobody sits here and is distracted by what you're saying by thinking I've seen that guy somewhere. Where maybe somebody in the Mormon universe recognize you? Birk:​ So I've done a few Mormon Movies. You know, if anyone wants to think way back to when this whole thing started. When it really started to get (00:01:00) a lot of momentum was when the first "Singles Ward" movie came out. So I had a small role in the "Singles Ward" and the "Singles Ward 2" or the single second ward. I did some voiceover stuff for the "Saints and Soldiers" movies that, uh, that depict members of the church during a certain happenings during World War Two primarily. But I think that the big one that people might recognize me from is the "Home Teachers" where I co-started with Michael Berkland who's done a lot of stuff. So I was kind of the, you know, (00:01:30) the really, we got to get our home teaching done. And my co-star was the we gotta get home and watch the football game. But yeah, other than that, that's pretty much been where people might spot me and Costco and start following me around.
    [Show full text]
  • Mormon Cinema on the Web
    Mormon Cinema on the Web Randy Astle ormon cinema on the Internet is a moving target. Because change M in this medium occurs so rapidly, the information presented in this review will necessarily become dated in a few months and much more so in the years to come. What I hope to provide, therefore, is a snapshot of online resources related to LDS or Mormon cinema near the beginning of their evolution. I believe that the Internet will become the next great force in both Mormon cinema and world cinema in general, if it has not already done so. Hence, while the current article may prove useful for contemporary readers by surveying online resources currently available, hopefully it will also be of interest to readers years from now by provid- ing a glimpse back into one of the greatest, and newest, LDS art forms in its infancy. At the present, websites devoted to Mormonism and motion pictures can be roughly divided into four categories: 1. Those that promote specific titles or production companies 2. Those that sell Mormon films on traditional video formats (primar- ily DVD) 3. Those that discuss or catalog Mormon films 4. Those that exhibit Mormon films online The first two categories can be dealt with rather quickly. Promotional Websites Today standard practice throughout the motion picture industry is for any new film to have a dedicated website with trailers, cast and crew BYU Studies 7, no. (8) 161 162 v BYU Studies biographies, release information, or other promotional material, and this is true of Mormon films as well.
    [Show full text]
  • Vol. 05 No. 2 Religious Educator
    Religious Educator: Perspectives on the Restored Gospel Volume 5 Number 2 Article 12 7-1-2004 Vol. 05 No. 2 Religious Educator Religious Educator Follow this and additional works at: https://scholarsarchive.byu.edu/re BYU ScholarsArchive Citation Educator, Religious. "Vol. 05 No. 2 Religious Educator." Religious Educator: Perspectives on the Restored Gospel 5, no. 2 (2004). https://scholarsarchive.byu.edu/re/vol5/iss2/12 This Full Issue is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Religious Educator: Perspectives on the Restored Gospel by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. THE RELIGIOUS EDUCATOR • PERSPECTIVES ON THE RESTORED GOSPEL The Joseph Smith Translation INSIDE THIS ISSUE: “The Best Two Years of Our Lives” Teaching the Fall and the Atonement The One Pure Defense President Boyd K. Packer VOL 5 NO 2 • 2004 “A Miracle from Day One”: Publication of the Joseph Smith Translation Manuscripts Rebecca L. McConkie A Light in the Wilderness: Robert J. Matthews and His Work on the Joseph Smith Translation Ray L. Huntington and Brian M. Hauglid A Community of Christ Perspective on the JST Research of Robert J. Matthews: An Interview with Ronald E. Romig Brian M. Hauglid and Ray L. Huntington Precious Truths Restored: RELIGIOUS STUDIES CENTER • BRIGHAM YOUNG UNIVERSITY Joseph Smith Translation Changes Not Included in Our Bible W. Jeffrey Marsh and Thomas E. Sherry “The Best Two Years of Our Lives”: A CES Mission Remembered Ed and Bunkie Griffith Endowed with Power Steven C.
    [Show full text]
  • J. Kirk Richards
    mormonartist Issue 1 September 2008 inthisissue Margaret Blair Young & Darius Gray J. Kirk Richards Aaron Martin New Play Project editor.in.chief mormonartist Benjamin Crowder covering the Latter-day Saint arts world proofreaders Katherine Morris Bethany Deardeuff Mormon Artist is a bimonthly magazine Haley Hegstrom published online at mormonartist.net and in print through MagCloud.com. Copyright © 2008 Benjamin Crowder. want to help? All rights reserved. Send us an email saying what you’d be Front cover paper texture by bittbox interested in helping with and what at flickr.com/photos/31124107@N00. experience you have. Keep in mind that Mormon Artist is primarily a Photographs pages 4–9 courtesy labor of love at this point, so we don’t Margaret Blair Young and Darius Gray. (yet) have any money to pay those who help. We hope that’ll change Paintings on pages 12, 14, 17–19, and back cover reprinted soon, though. with permission from J. Kirk Richards. Back cover is “Pearl of Great Price.” Photographs on pages 2, 28, and 39 courtesy New Play Project. Photograph on pages 1 and 26 courtesy Vilo Elisabeth Photography, 2005. Photograph on page 34 courtesy Melissa Leilani Larson. Photograph on page 35 courtesy Gary Elmore. Photograph on page 37 courtesy Katherine Gee. contact us Web: mormonartist.net Email: [email protected] tableof contents Editor’s Note v essay Towards a Mormon Renaissance 1 by James Goldberg interviews Margaret Blair Young & Darius Gray 3 interviewed by Benjamin Crowder J. Kirk Richards 11 interviewed by Benjamin Crowder Aaron Martin 21 interviewed by Benjamin Crowder New Play Project 27 interviewed by Benjamin Crowder editor’snote elcome to the pilot issue of what will hope- fully become a longstanding love affair with the Mormon arts world.
    [Show full text]
  • Edition 4 | 2018-2019
    2018-2019 SEASON Letter from the Chairman 9 Letter from the CEO 11 The Book of Mormon 14 Palace Theater Staff Directory 30 Program information for tonight’s presentation inside. The Palace would like to thank all of its Program advertisers for their support. ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019. All rights reserved. Printed in the U.S.A. letter from the chairman s Chairman of the Board of Directors for the Palace A Theater, I am grateful for the opportunity to serve this organization, and enthusiastic about its future. Committed to fostering the Palace’s success, the Board of Directors is currently working on a new three-year Strategic Business Plan, which will chart out the artistic, organizational, and financial goals for the theater. Focusing on expanded arts and educational programming, marketing, capital projects, and financial development, the objective of the plan is to continue expanding our current entertainment initiatives and ensure financial sustainability and growth for the Palace for years to come. Artistic success and economic stability help us provide a welcoming stage for both local and national arts groups. While we consistently seek out top-tier productions and popular artists, we also look to foster the next generation of talent, through our partnership with the Waterbury Arts Magnet Schools and our own educational programs.
    [Show full text]
  • SUSPENSE MAGAZINE Spring 2021 / Vol
    Suspense, Mystery, Horror and Thriller Fiction SPRING 2021 A Suspenseful Spring has Sprung! GREG F. GIFUNE DIETRICH KALTEIS DON BENTLEY Inspired by Actual Events JONATHAN KELLERMAN with Parris Afton Bonds J.A. JANCE JOSEPH BADAL Get a Sneak Peek of Head Back to Harper’s Island “BLACKOUT" with JOHN RAAB MARCO CAROCARI From the Editor How is everyone doing out there? I must say, it’s been quite the year thus far. We have mostly been locked down for so long, we’ve been streaming everything we can possibly watch. We have also, hopefully, read more books this year than in the past. CREDITS It’s now 2021, and time to turn the page John Raab on the worst year most of us has ever lived President & Chairman through. We want to remember the people Shannon Raab who have died during this pandemic and Creative Director give our prayers to all the families that Abigail Peralta have suffered such a horrible loss. Yes, it’s not a “far out” thing to say 2020 was unlike Vice President, Editorial Dept. anything we have ever seen before…but, with luck, it’s something we will never see again. We see the light at the end of the tunnel. Our medical professionals are working hard Amy Lignor Editor to ensure the vaccines get to everyone, and we can finally enjoy the writing conferences we’ve missed so much. Thank you to one and all. Contributors In case you’ve run out of things to watch, here are the top five hidden gems you might Susan Santangelo Kaye George have missed when they were originally released: Weldon Burge 5.
    [Show full text]
  • A Study of the Effect of Color in the Utah Temple Murals
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 1968 A Study of the Effect of Color in the Utah Temple Murals Terry John O'Brien Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art and Design Commons, and the Mormon Studies Commons BYU ScholarsArchive Citation O'Brien, Terry John, "A Study of the Effect of Color in the Utah Temple Murals" (1968). Theses and Dissertations. 4990. https://scholarsarchive.byu.edu/etd/4990 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. A STUDY OF THE EFFECT OF COLOR INTHEIN THE UTAH TEMPLE MMALSMURALS 41k V A thesisthes is presented to the department of art brigham young university in partial fulfillment of the requirements for thedegreethe degree master of arts by terryjohnterry john obrien may 19196868 m TABLE OF CONTENTS page LIST OF TABLES e 0 9 0 0 0 0 0 19 0 0 0 vi chapter I1 introduction 0 0 10 0 0 0 0 0 statement of the problem questions and data inherent to the problem justificationustifaustif icationmication and signifsigniasignificance3 cance of the study sourcsourasourceses of information delimitations of thestathestuthe studydy organization oftheodtheof the material basic assumptions definition of terms II11 THE FOUR UTAH TEMPLES AND THEIR ARTISTS 0 0 11 temple beginnings
    [Show full text]
  • Wise Or Foolish: Women in Mormon Biblical Narrative Art
    BYU Studies Quarterly Volume 57 Issue 2 Article 4 2018 Wise or Foolish: Women in Mormon Biblical Narrative Art Jennifer Champoux Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Part of the Mormon Studies Commons, and the Religious Education Commons Recommended Citation Champoux, Jennifer (2018) "Wise or Foolish: Women in Mormon Biblical Narrative Art," BYU Studies Quarterly: Vol. 57 : Iss. 2 , Article 4. Available at: https://scholarsarchive.byu.edu/byusq/vol57/iss2/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Champoux: Wise or Foolish Wise or Foolish Women in Mormon Biblical Narrative Art Jennifer Champoux isual imagery is an inescapable element of religion. Even those Vgroups that generally avoid figural imagery, such as those in Juda- ism and Islam, have visual objects with religious significance.1 In fact, as David Morgan, professor of religious studies and art history at Duke University, has argued, it is often the religions that avoid figurative imag- ery that end up with the richest material culture.2 To some extent, this is true for Mormonism. Although Mormons believe art can beautify a space, visual art is not tied to actual ritual practice. Chapels, for exam- ple, where the sacrament ordinance is performed, are built with plain walls and simple lines and typically have no paintings or sculptures. Yet, outside chapels, Mormons enjoy a vast culture of art, which includes traditional visual arts, texts, music, finely constructed temples, clothing, historical sites, and even personal devotional objects.
    [Show full text]
  • Article by Gordon B
    Gordon B. Hinckley, right, of the Church Radio, Publicity and Mission Literature Committee, examining a 35mm film with his former mission president, Elder Joseph F. Merrill, center, of the Quorum of the Twelve Apostles. Hinckley and a cadre of other young multitasking enthusiasts were responsible for pioneering various forms of media and for establishing a culture in which slide shows, radio plays, exhibits, and cinema would be used in Church education and publicity. LDS Church Archives, © Intellectual Reserve, Inc. A History of Mormon Cinema: Second Wave V 45 The Second Wave: Home Cinema (1929–1953) The Second Wave differed from the First in various respects. For instance, by the 1930s the global film industry was well past its primitive pioneer era, and, within Mormonism, the increased sophistication of Second Wave films reflects this progress. In addition, technical advances (principally sound, but also color) renewed enthusiasm about the medium, both generally and among the Latter-day Saints. While this optimism did propel institutional and independent Mormon filmmaking toward some major projects, the decade of the 1930s—and to a lesser extent the 1940s— has generally been described for its lack of Mormon film production. Such a perception, however, does not give full credit to changes and growth in underlying areas of Mormon cinema that created a sustainable cinematic culture that would last throughout the ensuing years. Indeed, the 1930s and 1940s were decades in which both the mainstream film industry and the LDS Church itself reinvented the relationship between Mormonism and cinema. Due to Hollywood’s adoption of the Hays Production Code and the aforementioned loss of Mormonism’s sensationalism, mainstream depic- tions of Mormonism changed radically to the positive in the 1930s.
    [Show full text]
  • WHY WE STAY Samoan Temple Burns Down; Book Stirs Controversy; FIVE PERSPECTIVES New LDS Films; More! (P.74) J
    Cover_129.qxd 10/15/2003 10:05 AM Page 2 MORMON EXPERIENCE SCHOLARSHIP ISSUES & ART THE MAKING OF IMMANUEL: SUNSTONESUNSTONE Brian David Mitchell and the Mormon Fringe by John-Charles Duffy (p.34) NEBULA an England essay contest winner by Mari Jorgensen (p.46) Experience the YEAR OF THE CICADA a story by Joe Peterson (p.52) Surviving BYU and Berkeley by Joanna Gardiner (p.57) IN MEMORIAM: Dean L. May and Stanley B. Kimball (p.6) 2003 Salt Lake Sunstone Symposium Report (p.68) UPDATE Conference news: Church members arrested after confrontations with street preachers; LDS leaders speak out on same-sex marriage legislation; WHY WE STAY Samoan temple burns down; Book stirs controversy; FIVE PERSPECTIVES New LDS films; More! (p.74) J. Frederick “Toby” Pingree, October 2003—$5.95 MaryAnne Hunter, Bill Bradshaw, Grethe Peterson, & Thomas F. Rogers ifc.qxd 10/15/2003 10:08 AM Page 1 Washington MOLLY BENNION—ORGANIZER ROY BENNION LEVI S. PETERSON RICHARD DUTCHER MARNI CAMPBELL ARMAND L. MAUSS THERESA ROTH CHARLOTTE ENGLAND TOM MUMFORD SUSAN PALMER JULIE MUMFORD DAVID HUNTER DAN PINGREE SAGE JOHNS LEAH SMITH pecial thanks to this year’s fall regional symposium volunteers! S Tape order form, page 73 Texas STEVE ECCLES—ORGANIZER MARGARET BLAIR YOUNG ROBERT H. BRIGGS DARIUS GRAY DAVID FEATHERSTONE ARMAND L. MAUSS CLIFTON JOLLEY VICKIE STEWART EASTMAN PAUL H. SMITH DARRELL FLETCHER LAEL LITTKE 01_toc.qxd 10/15/2003 11:19 AM Page 1 MORMON EXPERIENCE, SCHOLARSHIP, ISSUES, & ART OCTOBER 2003 Issue 129 FEATURES 22 J. Frederick “Toby” Pingree, . WHY WE STAY MaryAnne Hunter, Bill Bradshaw Grethe Peterson, Thomas F.
    [Show full text]