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Cinema 4 Journal of Philosophy and the Moving Image Revista De Filosofia E Da Imagem Em Movimento CINEMA 4 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO PHILOSOPHY OF RELIGION edited by Sérgio Dias Branco FILOSOFIA DA RELIGIÃO editado por Sérgio Dias Branco EDITORS Patrícia Silveirinha Castello Branco (University of Beira Interior/IFILNOVA) Sérgio Dias Branco (University of Coimbra/IFILNOVA) Susana Viegas (IFILNOVA) EDITORIAL ADVISORY BOARD D. N. Rodowick (University of Chicago) Francesco Casetti (Università Cattolica del Sacro Cuore/Yale University) Georges Didi-Huberman (École des hautes études en sciences sociales) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (New University of Lisbon) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (Centre national de la recherche scientifique/Université Sorbonne Nouvelle - Paris 3) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals The Philosopher’s Index PUBLICATION IFILNOVA - Nova Philosophy Institute Faculty of Social and Human Sciences New University of Lisbon Edifício I&D, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal www.ifl.pt WEBSITE www.cjpmi.ifl.pt CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE 4, “PHILOSOPHY OF RELIGION” Editor: Sérgio Dias Branco Peer reviewers: Ashish Avikuntak, Christine A. James, Inês Gil, João Constâncio, John Caruana, M. Gail Hamner, Mark Hanshaw, Melissa Conroy, Sérgio Dias Branco, Susana Nascimento Duarte, Susana Viegas, William Blizek Cover: The Silence (Tystnaden, 1963), dir. Ingmar Bergman. Publication date: Dec. 2013 CINEMA 4 ! ii ! EDITORES Patrícia Silveirinha Castello Branco (Universidade da Beira Interior/IFILNOVA) Sérgio Dias Branco (Universidade de Coimbra/IFILNOVA) Susana Viegas (IFILNOVA) CONSELHO EDITORIAL CONSULTIVO D. N. Rodowick (Universidade de Chicago) Francesco Casetti (Universidade Católica do Sagrado Coração/Universidade Yale) Georges Didi-Huberman (Escola de Estudos Avançados em Ciências Sociais) Ismail Norberto Xavier (Universidade de São Paulo) João Mário Grilo (Universidade Nova de Lisboa) Laura U. Marks (Universidade Simon Fraser) Murray Smith (Universidade de Kent) Noël Carroll (Universidade da Cidade de Nova Iorque) Patricia MacCormack (Universidade Anglia Ruskin) Raymond Bellour (Centro Nacional para a Pesquisa Científica/Universidade Sorbonne Nouvelle - Paris 3) Stephen Mulhall (Universidade de Oxford) Thomas E. Wartenberg (Mount Holyoke College) EDITORA DAS ENTREVISTAS Susana Nascimento Duarte (IFILNOVA) EDITORA DAS RECENSÕES DE LIVROS Maria Irene Aparício (IFILNOVA) EDITOR DOS RELATÓRIOS DE CONFERÊNCIA William Brown (Universidade de Roehampton) ISSN 1647-8991 CATÁLOGOS Directory of Open Access Journals The Philosopher’s Index PUBLICAÇÃO IFILNOVA - Instituto de Filosofia da Nova Faculdade de Ciências Sociais e Humanas Universidade Nova de Lisboa Edifício I&D, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal www.ifl.pt SÍTIO ELECTRÓNICO www.cjpmi.ifl.pt CINEMA: REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO 4, “FILOSOFIA DA RELIGIÃO” Editor: Sérgio Dias Branco Árbitros científicos: Ashish Avikuntak, Christine A. James, Inês Gil, João Constâncio, John Caruana, M. Gail Ham- ner, Mark Hanshaw, Melissa Conroy, Sérgio Dias Branco, Susana Nascimento Duarte, Susana Viegas, Willi- am Blizek Capa: O Silêncio (Tystnaden, 1963), real. Ingmar Bergman. Data de publicação: Dez. 2013 CINEMA 4 ! iii CONTENTS | ÍNDICE Editorial: Cinema, Religion, and Their Philosophical Thinking ! 1-3 Sérgio Dias Branco Abstracts! 4-12 ARTICLES | ARTIGOS A Night at the Opera of Talmudic Reasoning: The “Jewishness” of Jewish Cinema! 14-27 Shai Biderman From Up in the Air to the Roots of Avatar’s Tree of Souls: Hossein Nasr’s Islamic Traditionalism and the Hope for Western Futures Grounded in the Sacredness of the Earth! 28-43 Daniel Bradley Revisiting Dhvani in the Context of the Aesthetics of Experience in Film! 44-61 Anuradha Chandra The Tao of BwO: Deleuzian Becomings in Kung Fu Cinema! 62-80 Amir Vodka Silence as the Space for Love: Bergman’s Trilogy and the Absence of God! 81-96 Earl Allyson P. Valdez A Linguagem e os Ritos Sacrificiais no Cinema de João César Monteiro! 97-115 Catarina Maia Approches d’un style spirituel au cinéma : Dans la brume de Sergei Loznitsa! 116-132 Inês Gil How Film Can Carry Being: Film Melodrama and Terrence Malick’s The Tree of Life as a Post-Religious Film! 133-163 Warwick Mules Des films cannibales, ou l’humanisme mis à mal! 164-183 Frédéric Marteau Christophe Becker A Cannibal’s Sermon: Hannibal Lecter, Sympathetic Villainy and Moral Revaluation! 184-208 Aaron Taylor CINEMA 4 · CONTENTS | ÍNDICE! iv INTERVIEW | ENTREVISTA Film/Religion: A Conversation with P. Adams Sitney! 210-215 by | por Sérgio Dias Branco CONFERENCES REPORT | RELATÓRIO DE CONFERÊNCIAS 2013: A Slow Year! 217-223 William Brown CINEMA 4! 1 EDITORIAL: CINEMA, RELIGION, AND THEIR PHILOSOPHICAL THINKING The fourth issue of Cinema: Journal of Philosophy and the Moving Image addresses philosophy of religion as a topic and its intersections with cinematic art. In the field of film studies, film and religion have been fruitfully combined as research subject matters. Scholars interested in this combination have focused on periods like that when the Motion Picture Production Code was in place in Hollywood, on films informed by specific religious traditions like Mohsen Makhmalbaf’s Sufi-inspired The Silence (Sokout, 1998), on theoretical approaches such as feminism that problematize works like Lars von Trier’s Breaking the Waves (1996), among other options open to researchers. Cinema and philosophy have also had a produc- tive relationship in recent years. Different philosophical fields have addressed the moving image, from the philosophy of art to the philosophy of mind, yet philosophy of religion has been a field lacking in this discussion. This issue contributes to attenuate this absence. Cinematic art and religion have been thought philosophically, either argumentatively or reflectively, even if not in tandem. This philosophical thinking calls for some distinctions, particularly within the realm of religion — but also within the sphere of art. For instance, it is worth differentiating between philosophy of religion and theology, in the same way that phi- losophy of art is differentiated from aesthetics, since they can be easily confused or conflated. In the words of Paul Tillich, Philosophy of religion is the theory of the religious function and its categories. Theology is the normative and systematic presentation of the concept of “religion.” The cultural history of religion acts as a bridge between philosophy of religion and theology. It grasps critically the individual realizations of the concept of religion in history and thereby leads on to a special systematic solution of its own (which can be solution of a group, a “school,” or a church). [...] The separation of philosophy of religion and theology is no better founded than the separation of philosophy of art and normative aesthetics, or moral philosophy and normative ethics. [...] And wherever theses separations are made, the mutual dependence of the elements persists, even if it is not recognized. Every theol- CINEMA 4 · EDITORIAL! 2 ogy is dependent upon the presupposition of a concept of the essence of religion. Every philosophy of religion is dependent upon a concept of the norm of religion. And both are dependent upon the comprehension of the cultural-historical material.1 This inscribes religion in human history and culture, presenting a panorama in which es- sence and norm cannot be mistaken for essentialism and normativism. Different definitions of essence and norms co-exist in religion and also within the boundaries of a specific religion — because unity and uniformity are not synonyms. The same can be said about art and cin- ema, if we call to mind the contrasting ontological views on film and the diverse guiding principles of film movements. Theology as the systematic development of religious practices and articulations does not limit itself to a theistic conception of God (that is, of God con- ceived as a being that intervenes in the world, shaping its history, and responding to prayer- ful requests). Buddhism, for example, does not talk about God as such, even though it uses comparable concepts — enlightenment/salvation, for instance. Yet even within those that do use such a term, there have been various understandings of it which are non-theistic and may involve a dialogue with theologians like Tillich,2 with mystic poets like Angelus Silesi- us,3 or with Marxist philosophers like Ernst Bloch.4 These considerations about religion connect with cinema in two different ways in this issue. The first group of articles engage with five major religious traditions: Judaism, Islam, Hinduism, Taoism, and Christianity. All of them tackle significant topics within the realm of philosophy of religion through film: identity, tradition, experience, emptiness and empty- ing, and love. Shai Biderman focuses on the Marx Brothers’ Jewish cinema and discusses the hermeneutics and reasoning in Judaism as tending towards the absurd, bordering on the absurdist. Daniel Bradley juxtaposes Up in the Air (2009) and Avatar (2009) to unveil a con-
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