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On the Promise of Film As a Locus Mystagogicus: an Appraisal from the Perspectives of Roman Catholic Teaching on Cinema and Karl Rahner's Fundamental Theology

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On the Promise of Film As a Locus Mystagogicus: an Appraisal from the Perspectives of Roman Catholic Teaching on Cinema and Karl Rahner's Fundamental Theology On The Promise of Film as a Locus Mystagogicus: An Appraisal from the Perspectives of Roman Catholic Teaching on Cinema and Karl Rahner's Fundamental Theology Author: Thomas J. Curry Persistent link: http://hdl.handle.net/2345/3875 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2010 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of Theology ON THE PROMISE OF FILM AS A LOCUS MYSTAGOGICUS: AN APPRAISAL FROM THE PERSPECTIVES OF ROMAN CATHOLIC TEACHING ON CINEMA AND KARL RAHNER’S FUNDAMENTAL THEOLOGY a dissertation by THOMAS JOSEPH MAXIMILIAN CURRY, III submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2010 © copyright by THOMAS J. CURRY 2010 ON THE PROMISE OF FILM AS A LOCUS MYSTAGOGICUS: AN APPRAISAL FROM THE PERSPECTIVES OF ROMAN CATHOLIC TEACHING ON CINEMA AND KARL RAHNER’S FUNDAMENTAL THEOLOGY by Thomas J. Curry Dissertation director: Fr. Robert Imbelli Grace sows the seeds of God’s sacred word in every human life. One of theology’s most important functions is to furnish people with ways of perceiving these divine intimations in their concrete lives and relationships. Orientation to transcendental mystery is the sine qua non for initiation into faith. Theology must therefore lead people more deeply into the mystery of everyday existence as a preparation for the Christian life. At the same time, theology aims at expounding Christian teaching in as clear and intelligible a manner as possible. Theology accomplishes this by adapting its modes of presenting doctrine to the needs and capabilities of its addressees. This two-fold responsibility is properly understood as theology’s mystagogical task. This dissertation argues that film is a crucial reference point for mystagogy—a locus mystagogicus. Film interprets human experience in ways conceptual theology cannot. It is thus a rich source for theological reflection. Theology is also an indispensable resource for film interpretation and a natural dialogue partner since it seeks to disclose the deepest dimensions of existence. More importantly, film needs theology as the hermeneutic that formally interprets religious experience—something that many human beings only vaguely sense, often misunderstand, and can easily misrepresent. With the help of film experts, theology can turn its discerning eyes to the stories and images of film and present viewers with a unique language by which they can articulate a response to their film experience. Film thus requires theology to bear witness to its artistry when it does succeed in opening people in wonder and humility to the ever- greater God. This dissertation in Catholic systematic theology investigates the theoretical and practical conditions of possibility for film as a locus for and of mystagogy. The question that it attempts to clarify is the extent to which Karl Rahner’s fundamental theology provides an apposite and needed model for the way Catholic theology relates to film. There are three basic goals: (1) to outline existing ecclesial and theological foundations for a Catholic theology of film by way of a survey of magisterial documents on cinema and the writings of individual Catholic theologians and film scholars; (2) to provide greater theological grounding for Catholic approaches to film by developing the model that film is a locus mystagogicus on the basis of Rahner’s transcendental method, creative retrieval of ancient mystagogy, and theological aesthetics; and (3) to test the viability and vitality of this model by way of analysis of the film Babette’s Feast. i TABLE OF CONTENTS Keynotes…………………………………………………………………………………iii Acknowledgments……………………………………………………………………….iv Introduction………………………………………………………………………………1 Chapter 1: Vatican Perspectives on Cinema, Part I…………………………………16 I. Introduction II. Vigilanti cura (Encyclical Letter of Pius XI on the Motion Picture) III. Discorsi sul film ideale (Apostolic Exhortations of Pius XII to Representatives of the Cinema World) IV. Miranda prorsus (Encyclical Letter of Pius XII on Motion Pictures, Radio, and Television) V. Inter mirifica (Decree on the Media of Social Communication) VI. Conclusion VII. Excursus: The “Legion of Decency” and “SIGNIS” Chapter 2: Vatican Perspectives on Cinema, Part II………………………………..64 I. Introduction II. Gaudium et spes (Pastoral Constitution on the Church in the Modern World) III. Dei Verbum (Dogmatic Constitution on Divine Revelation) IV. Communio et progressio (Pastoral Instruction on the Means of Social Communication) V. Letter of Pope John Paul II to Artists VI. Conclusion Chapter 3: Theological Approaches to Film………………………………………..117 I. Introduction II. André Bazin III. Neil Hurley, S.J. IV. Michael Paul Gallagher, S.J. V. Joseph Marty VI. Richard Blake, S.J. VII. Conclusion VIII. Excursus: Other Catholic Approaches to Film Chapter 4: Mystagogy in Christian Antiquity……………………………………...179 I. Introduction II. Pagan Roots and Adoption into Christianity III. Christian Initiation Rites IV. Mystagogia V. Mystagogy as Theology VI. Typology VII. Liturgical Mystagogy Today ii VIII. Conclusion Chapter 5: The Mystagogical Method of Karl Rahner’s Fundamental Theology..216 I. Introduction II. Recovery and Adaptation of Mystagogy III. Motivations toward Methodology IV. Bipolar Structure of Theology V. Transcendental Anthropology VI. The Structure of Transcendentality VII. The Unity of Transcendentality, Grace, and Revelation VIII. The Unity of Transcendental and Categorical Experience IX. Christ the Criterion: The Privileged Place of Christian Categorical Revelation X. Conclusion Chapter 6: Theology and the Arts: Babette’s Feast………………………………..318 I. Introduction II. Karl Rahner on Theology and the Arts III. Babette’s Feast: Aesthetic Analysis IV. Babette’s Feast: Theological Analysis V. Conclusion Concluding Reflections………………………………………………………………..385 Bibliography…………………………………………………………………………...394 iii KEYNOTES The invisible things of God from the creation of the world are clearly seen, being understood by the things that are made. - St. Paul, Romans, 1:20 Come, I will show you the Word and the mysteries of the Word, and I will give you understanding of them by means of images familiar to you. - St. Clement of Alexandria Theology must somehow be “mystagogical,” that is, it should not merely speak about objects in abstract concepts, but it must encourage people really to experience that which is expressed in such concepts. - Karl Rahner, S.J. Art must make perceptible, and as far as possible attractive, the world of the spirit, of the invisible, of God. Christ himself made extensive use of images in his preaching, fully in keeping with his willingness to become, in the Incarnation, the icon of the unseen God. - Pope John Paul II My function is to make whoever sees my films aware of his need to love and to give his love, and aware that beauty is summoning him. - Andrei Tarkovsky iv ACKNOWLEDGMENTS The impact a project of this scope makes on a man, his family, friends, students, and health is immeasurable—or perhaps only too measurable. With so much gained, one cannot dwell on what was, or what at times seemed to be, lost. I should like to take this opportunity to express heartfelt thanks to some very important people. First, to my parents, for every moment of their love, understanding, and encouragement along this difficult and rewarding journey. You gave me the greatest gift a mother and father can give. Some day the two of you will be right up there in beatific glory discussing with Sts. Mary and Joseph the trials and joys of raising an only son. When I see you together, it is if I am looking into a mirror at the man I have become. And to the ones who light up my life—my sisters, Aimee, Colleen, Camille, and Mollie: You gave me the hope to carry on. There are the many teachers who were formative influences on my vocation. At every stage, I was blessed with the presence of an intellectual and spiritual mentor. During my intermediate years there was Fr. James Angert, T.O.R., who remains to this day a supportive guide. My secondary education exposed me to the charism of the Oblates of St. Francis de Sales, an order to which I remain beholden. In particular, I wish to thank Fr. William Dougherty, O.S.F.S., my original theological father. The ecclesial institution that made the deepest impact on my life was La Salle University. I want to thank Dr. David Efroymson, James Fallon, Dr. Geoffrey Kelly, Br. Michael McGuinness, F.S.C., and Br. Gerry Molyneaux, F.S.C. In particular, I am grateful to Br. Joseph Keenan, F.S.C., who exposed me to the Japanese Tea Ceremony. v His training led me to Kyoto, Japan, where I met my wife, Sung Min Jung—a fellow student at Urasenke College. He is deeply missed. I am indebted to the Theology Department at Boston College for their generous fellowships. The times I cherish most from BC were spent in conversation with Fr. William Dych, S.J., when the seeds of this dissertation were sown. He, too, is missed. Most especially, I want to thank my dissertation committee, Fr. Robert Imbelli, Fr. Bruce Morrill, S.J., and Dr. Bryan Stone, for taking on this project and guiding it to the end with insight, patience, and words that strengthened my resolve. For most of my teaching life, I have been associated with St. John’s College High School in Washington, DC. I want to thank the Christian Brothers, my friends, colleagues, and students there for their continuing encouragement and good humor. Ken and Jake Cooper deserve special mention for their personal investment in this project. I raise a glass to my good friends, Randy Channell, Graham Dennis, Andrew Dolan, Matthew Donovan, Jon Kjos, Michael LeBaron, Hitoshi Mochizuki, Matthew Smith, and Michael Sweeney. And to my best man and editor-in-chief, George Beschen—another fringe benefit of La Salle.
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