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