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Mary in Film

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Mary in Film PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas Introduction 116 'Life ofMary' Films 117-124 Filmography of 'Life of Mary' Films 125 2 Dramas (cont.) 'Life of Christ' Films 126-144 Filmography of 'Life of Christ' Films 145-146 Films about Marian Apparitions 147-152 Filmography of Dramas on Marian Apparitions 153 Symbolic Marian Films Classification Criteria 154-158 Conventional Uses of Marian Symbols Dea ex machina 159-161 Indicator of death or the danger of death 162-163 Comparative standard of virtue 163-166 Opponent of demons 166-168 Analogue of the female romantic lead 168-170 Catholic or Ethnic artifact 170-173 List of Dramas in which Marian symbols appear 174-177 Dramas with Explicit Marian Figures 178-189 Filmography of Dramas in which 'Marian Figures' appear 190 Films with Implicit Marian Figures/lllustrations 191-207 Filmography of Dramas with 'Marian illustrations' 208 VI) Theological Appraisal Insights based on official Catholic documents on film 209-215 Theological issues related to Marian lectures 215-217 Theological issues related to Marian documentaries 217-218 Theological issues related to Marian dramas Overview 218-219 Specific doctrinal matters 219-220 Suggesting the Supernatural Visually? 220-222 Pastoral implications of films presenting Mary 222-227 Bibliography 228-234 3 Chapter 1: Purpose and Method The Marian Library/International Marian Research Institute holds a large and comprehensive collection of films, most of which include presentations of the Vrrgin Mary in some aspect. Additionally, the Institute has done considerable academic research on Mary in Cinema. The most prominent fruit of this research, to date, was a speech given in German at the 1992 International Mariological Congress in Huelva by Fr. Johann Roten. Based on the research already done, and with a strong personal interest in film, I have continued the Institute's research on the Mary in Film topic. The main results of this research, at present, include: creating detailed reviews of 138 films for Marian content (in addition to the 44 used to prepare the Huelva talk)~ accumulating a list of over 1,000 films with probable Marian content from secondary sources (and doing partial reviews on a large number of them)~ establishing contacts with a number of Catholic experts on religion in film~ and presenting mini- courses on the topic through the International Marian Research Institute (IMRI). For these reasons, IMRI was ideally suited to support theological research on the Vrrgin Mary in Film. Also, a number of reasons make the present time ideal for a thorough review of the topic. Cinema celebrated the 100111 anniversary of its first public display in December 1895. The Vatican saw fit to mark this occasion by releasing a list of 45 outstanding films.1 The first Marian dramas occurred around 1899~ and this dissertation parallels the Vatican's Centennial homage to films as a whole in regard to IMRI's area of specialization. The Catholic Church also commemorates the Year 2000 as a special Christian Jubilee. A 1 Cf Copp, Jay, ''Vatican Gives Two Thumbs Up to 45 Films on 100111 Anniversary of the Cinema," Columbia (July 1996): p. 12. 4 number of projects are being carried out to present and re-present aspects of the Gospel to the people of today. The significant role of the Virgin Mary within the content of the full Christian message should be among these projects. An analysis of the Marian character within Cinema examines that significant role within a context most relevant to modem society. By happy coincidence, the University of Dayton, within which IMRI is located, celebrates its Sesquicentennial during the Jubilee year. A number of projects were sponsored to commemorate this anniversary, including a Film Festival and Lecture series to examine the image of Mary presented in films during the past century. This provided an opportunity to organize and present the research which had been done to date to general audiences. Finally, the past two decades show some signs of a revival in popular interest in the Virgin Mary. This is certainly true of film over the past ten years. Several documentaries and dramas related to her were shown on television in various countries in 1999 alone, with several more scheduled for 2000. Such research has not been done to date. Most of the theological articles on the topic are already dated. Further, materials in English on this particular subject are almost non-existent. The time for this particular paper has come. In general, the objective of this study is to update and expand upon the limited published body of existing knowledge on the topic of Mary in film through a comprehensive study of relevant titles in the Marian Library's video collection and database. The general methodology is as follows. This study opens with a review of the academic literature on the subject, something of an annotated bibliography. Next comes a listing of relevant documents from the Catholic Church on the means of social communications with a 5 summary of their content, noting insights relevant to dealing with Marian films. Next we find a general review of important artistic and technical movements within film history, noting their effect on representative contemporaneous Marian films. These three chapters form the background for the study proper. The next section examines the corpus of films referring to the Virgin Mary divided by relevant classes and themes. Finally, the concluding chapter reviews and expands upon theological issues and insights mentioned in the earlier sections of the study. The details of this plan of study now follow. Chapter one examines relevant literature on 'Mary in Film' with a view to discerning the present 'state of the question'. While general references on film are not studied, several titles on the general topic of religion in film are. The bulk of the chapter is devoted to examining the contents of articles on the particular topic of Mary in Film. Most of the titles are taken from Besutti's Marian bibliographies. 2 Chapter two examines documents from the Catholic Church on various aspects of the mass media. In particular, we shall focus on the following five documents: Vigilanti Cura (1936); Miranda Prorsus (1957); Inter Mirifica (1963); Communio et Progressio (1971); andAetatis Novae (1992). The topic of Mary in Film is not dealt with directly in any of these documents. However, they do provide a number of principles for appraising films from a Catholic perspective. 2 Giuseppe Besutti, ed., BibliografiaMariana 1948-51 (Roma:EdizioniMarianum, 1950); Giuseppe Besutti, ed. Bibliografia Mariana. TI. 1950-1951 (Roma: Edizioni Marianum, 1952); Giuseppe Besutti, ed., Bibliografia Mariana 1952-1957 (Roma: EdizioniMarianum, 1959); Giuseppe Besutti, ed., BibliografiaMariana 1958-1966 (Roma: EdizioniMarianum, 1968); Giuseppe Besutti, ed., BibliografiaMariana 1967-1972 (Roma: EdizioniMarianum, 1973); Giuseppe Besutti, ed., BibliografiaMariana 1973-1977 (Roma: EdizioniMarianum, 1980); Giuseppe Besutti, ed., Bibliografia Mariana 1978-1984 (Roma: Edizioni Marianum, 1988); Giuseppe Besutti, ed., Bibliografia Mariana 1985-1989 (Roma: Edizioni Marianum, 1993); Ermanno Toniolo, ed.,BibliografiaMariana 1990-1993 (Roma: EdizioniMarianum, 1998). 6 Chapter three opens with a brief history of the technical developments behind cinema and then proceeds to an overview of prominent stylistic movements throughout film history. Some Marian films are discussed briefly in order to show the influence of these various styles at particular times. In general, these styles include: actuality films; early 'Life of Christ' films; melodramas; fantasy epics; realistic films; various 'new waves'; and a recent Marian and religious revival in cinema. Chapter four, by far the largest, is a comprehensive survey of films based on data from the Marian Library's comprehensive film database. The contents of this database are discussed in the introduction to that chapter. This introduction also includes a discussion of the criteria used to categorize the films
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