ABSTRACT
Faith-Based Films: A Cultural Analysis
Alex Dillard
Director: Leslie A. Hahner, Ph.D .
This thesis analyzes two faith-based films, God’s Not Dead and Silence , and corresponding paratextual sources, as cultural artifacts to identify each film’s encoded and decoded messages and representations of Christians and non-Christians. First, a history of Christian film and summation of current literature is presented. Then, the significance and relationship between film, culture, and Christianity is discussed. Cultural studies, whose interdisciplinary tenets guide the methodology of this study, is explained. The analysis in this thesis is three-pronged and examines the production and marketing of each film, the films proper, and the critical response to each film. In light of this analysis, whether or not each film was able to maintain a label of faithfulness and the significance of the Christian culture industry is discussed. This thesis concludes that God’s Not Dead is able to maintain a label of faithfulness through its explicit conservative, evangelical messaging and extensive marketing, while Silence is unable to maintain a label of faithfulness due to its vague messaging and noncompliance with the Christian culture industry. This thesis contributes to current literature by examining how paratextual resources aid in crafting an understanding of a film, identifying a faith-based pedagogy, and discussing the Christian culture industry.
APPROVED BY DIRECTOR OF HONORS THESIS:
Dr. Leslie A. Hahner, Department of Communications
APPROVED BY THE HONORS PROGRAM:
Dr. Andrew Wisely, Interim Director
DATE: ______
FAITH-BASED FILMS: A CULTURAL ANALYSIS
A Thesis Submitted to the Faculty of
Baylor University
In Partial Fulfillment of the Requirement for the
Honors Program
By
Alex Dillard
Waco, Texas
May 2021 TABLE OF CONTENTS
Chapter One: Introduction ...... 1
Chapter Two: Film and Culture, Cultural Studies, and Methodology ...... 14
Chapter Three: Cultural Analysis ...... 31
Chapter Four: Discussion and Conclusion ...... 84
Appendix ...... 94
Appendix: Campaign Guide for God’s Not Dead ...... 95
Bibliography ...... 121
ii
CHAPTER ONE
Introduction
History of Christian films
Christians have had a complex relationship with cinema. In the early Twentieth
Century, the statement ‘church and cinema’ was equated to ‘church versus cinema’ (Wall
11). The church acknowledged its power to influence audiences and was concerned with the lack of morality shown within films. Protesting against Hollywood was a combined effort of both Roman Catholic and Protestant leaders (Lindvall 1). During a visit to the
United States in the 1920s, Roman Catholic journalist G.K. Chesterton offered a different approach to combating cinema. He stated the “problem with movies is not that they go to places like Middle America, but that they don’t come from places like Middle America”
(Lindvall 3). Chesterton was suggesting that the church should begin to create its own films in order to ensure moral messages.
The realization that churches could use cinema to “instruct, evangelize, and entertain its congregants” led to the use of film as an extension of sermons (Lindvall 4).
In the 1930s, Congregationalist editor George Reid Andrews highlighted the similarity between revivals and modern motion pictures in their ability to excite (Lindvall 7).
Andrews explained that the “beauty and romance of the silver screen” impacts people the same way that revivals afforded participants “temporary release from the corroding cares of the day and giving them a prospect of the streets of the God and the gates of pearl”
(Lindvall 7). Over the course of a decade, Christians used films to call for repentance and
1 conversion, highlight social justice issues, and depict biblical stories. Films such as the
1932 The Sign of the Cross were shown at Christian conferences followed by discussion of Christian persecution, peace, and racial prejudice (Lindvall 10). Christians shifted their position on motion pictures, believing that if films acted in concurrence with biblical teachings, with clear and direct address in order to minimize misunderstandings, they could be beneficial to churches (Lindvall 11).
Two early producers of Christian cinema, James Friedrich and Carlos Baptista, illustrate two differing philosophies of Christian filmmaking. Friedrich believed the goal of Christian films should extend into multiple realms whereas Baptista saw no use for film beyond visual evangelization (Lindvall 37). Additionally, Friedrich and Baptista disagreed on the qualifications of a good film. Friedrich believed it was of the utmost importance to have good actors regardless of if they were Christian (Lindvall 37).
Baptista felt as though quality was of tertiary importance, and all workers on the film must be of the Christian faith (Lindvall, 38). The debate of whether having a good quality film or having only Christian workers on set as more important continues to be a point of tension in the Christian movie industry.
The quality of Christian films in general has always been a common criticism of the films, which usually have a preference for “dogma over drama” (Lindvall 20).
Michela Robins, writer for the Hollywood Quarterly, questioned whether Christian films would always be “insipid missionary conscience-tweakers” or if they would ever venture out into dramatic films that “dealt with pressing social and moral issues from Christian perspectives” (Lindvall 23). While some films did delve into “life situations” that focused on personal, social, and economic issues, these films struggled to preserve and convey
2 personality (Lindvall 126). The scripts of the films struggled to make “God-talk genuine and non-God-talk realistic,” and they followed a predictable pattern of dramatic conversions, sob stories, and testimonies (Lindvall 152). Beginning in the 1960s, independent filmmaker Mel White endeavored to break the status quo of Christian films by communicating the trials and tribulations of being a Christian (Lindvall 137). He hoped to “make the Christian faith a little more full-orbed, a little more honest” by capturing moments of “incomprehensible suffering that laid out human anger, frustration, anxiety, fear, and desperation at the feet of God” (Lindvall 137). While at first less concerned with the criticism of their media’s quality, Christian filmmakers have grown to recognize the importance of a film’s quality in communicating its message.
In the early 1980s, Fred Carpenter, a provocative and inquisitive young filmmaker, furthered the work of White. Carpenter posed that Christian films should be
“discussion starters,” that act as a tool to engage nonbelievers (Lindvall 207). His ideal
Christian film would capture the attention of those who otherwise would not listen and invite them to reflect on what was eternally important (Lindvall 209). This carries into the present day Christian film industry, which often endeavors to create compelling narratives rather than just transmitting Christian teachings (Lindvall 215).
Throughout the history of Christian cinema, church leaders have learned the significance of film. Once the church realized that film is a cultural medium that has the potential to deeply impact its audience, it opened itself up to a new way of spreading the gospel. Just as Saint Augustine said of rhetoric, that it is a neutral art that can be used for
God’s glory, the same can be said of film (qtd. in Brinton 441). Film, a medium with the
3 power to “grip the emotion and transform the mind like no other medium,” can be used as a tool of communication for Christians (Wall 18).
Christians were correct in their understanding of film as a maker of meaning within society. While watching a film, the viewer assigns a conceptual meaning to the diegesis (Bordwell 8). Through this assignment, which is a “social activity governed by norms,” the film speaks directly to the audience (Bordwell 18). The way in which the viewer comes to interpret the film is partially through the rhetorical construction of the film. Films are rhetorically infused with devices that can “stir emotions and advance ideologies” (Wetherbee 32). The advancement of ideologies is one way that a film speaks indirectly. The discourse of the film is “internalized” and used to “understand our world and our own lives” (Wetherbee 2). The ideologically motivated “micro-level utterances” of a film compose a “complete, complex utterance” that can shape one’s world view.
Since film has the ability to construct our worldview, it is a “cultural standard-bearer”
(Ostwalt 76). Films can continue to reinforce “older myths,” and they can also communicate and create new myths (John 52). Overall, film has the power to change beliefs, myths, symbolism, and structures (John 54).
Films operate through identification of the audience with characters and the
‘reality’ being presented. Moreover, the ways films “carve up” a part of reality to make it feel true to the viewer is how representation can impact one’s worldview (Messaris 21).
The more one believes that what is depicted is real, the more successful the film in its persuasion (John 9). Since identity and representation are linked, representation in film
“shapes the views of identity and self-perception” (Sumera 13). The conception of the social construction of reality says that we learn about ourselves through many influences,
4 one of which is media. Films are “infused with cultural values” that the audience will either accept or reject (Wetherbee 60). Therefore, films are “fictional stories being performed to create visual representations of culture” (Wetherbee 35). This is why representation is important within cinema. Films often act as a synecdoche, representing a larger generality of the depicted characters (Wetherbee 64). Characters serve as the personified form of ideas and embody abstractions, such as religion (Sumera 19)
However, there is a fine line between reality and the construction of reality through representation in film; within that fine line is popular culture and public perception, which feed off one another (Sumera 80).
The paramount issue of this thesis is how films are identified as Christian and the ways viewers process the narratives and lessons of Christian films. In pursuing this issue,
I ask several questions: What are faith-based films communicating to their viewers about
Christians and non-Christians? How are Christian films branded to maintain the label of faithfulness? Can ostensibly non-Christian films—or films not made within the industry model—communicate Christian messages? This thesis explores these questions through cultural film analysis of two faith-based films, and an analysis of paratexts, texts that surround a film and shape meaning-making such as popular reviews of the film or marketing and promotional activities. In doing so, this thesis will reveal faith-based film pedagogy as it becomes identifiable within popular culture.
In this thesis, the genre of “faith-based” is constituted by one of three markers.
The film in question must position the Christian faith as a significant aspect of the main character’s journey, the theme of the film, or the setting (Jenkins 1). Therefore, the film could be historical, based on a true story, fictional, or set in modern times. The label of
5 “faith-based” by movie producers can serve as a marketing tool that signals to Christians that the film will appeal to them. However, films that are not outwardly marketed as
“faith-based” can still fall into that category according to the previously stated markers.
Literature Review
To help guide this analysis of faith-based films, I will look at literature that examines faith-based films, describes the repercussions of faith-based films on audiences, and suggests changes for future faith-based cinema. While little academic analysis can be found on faith-based films, there is literature studying the themes, editing, and representation within faith-based cinema. Because there are so few studies of Christian films, this literature review is able to offer in-depth discussion of the present studies. The limited literature also allows my thesis to offer a strong contribution to current scholarly conversations.
Studies done on the representation of Christians within film have found Christians to be restrictive and overbearing. A content analysis of films from 2000 to 20005, conducted by Lara T. Sumera, looked at characters and themes within films to analyze the representation of Christianity within popular cinema. The study found common negative themes including Christianity as restrictive, ineffective, a mask, and a political instrument
(Sumera 63). However, it did find some positive themes such as Christianity as a tool to fight evil, a moral guide, and a higher purpose (Sumera 63). According to Sumera, in its most positive light, popular films showed that Christianity gives hope, comfort, and a sense of meaning to life. Sumera suggests that a negative representation of Christianity could be due to a lack of the “spirit of Christianity,” which she describes as unconditional
6 love and life-affirming relationships that offer support and friendship, in Christian media
(Sumera 77).
Sean O’Connor took on a more detailed analysis than Sumera in his master’s thesis on the films Courageous and The Tree of Life. Using screenwriter Robert McKee’s
theories on story structure, O’Connor conducted a comparative analysis of faith-based
filmmaking. The analysis determined that faith-based films tend to use
“narrative-suffocating devices for stressing a point” (S. O’Connor 71). This means
Christian films do not adhere to the practice of “showing instead of telling,” and
disrespect the intelligence and sensitivity of their audience as a result.
The analysis also concluded that the resolution of many faith-based films acts
more as an altar call rather than a dramatized closure, which decreases the compelling
nature of the story (S. O’Connor 82). The analysis concludes by suggesting that
faith-based films should include stories that are both prescriptive (showing how the world
can be) and descriptive (showing how the world is) through a transformational character
arc (S. O’Connor 87). O’Connor suggests that quality filmmaking and dramatization of
conflict is essential to the success of a faith-based film. This aligns with the challenges
others have presented to Christian filmmakers to make movies without agendas, to be
willing to suggest instead of preach, and to produce work that creates conversations about
important issues (Austin 23; Seger 44; Benton 70).
As previously stated, a common critique of Christian media is its poor quality.
Studies have corroborated this criticism and suggested that the poor quality has caused
messages to be poorly communicated. Jonathan Pfenninger, a master’s candidate for
Liberty University, wrote a thesis entitled Choices in the Editing Room: How the
7 International Editing of Dialogue Scenes through Shot Choice can Enhance Story and
Character Development within Motion Pictures. The study examined six films, five of which were Academy Award winning nominated films for Best Editing and one that was a top grossing faith-based film. Pfenninger examined and evaluated the composition of dialogue scenes, and compared and contrasted the faith-based film with the Academy films in order to discuss how stories can be enhanced through editing. According to his research, the editing in narrative films subconsciously influence viewers (Pfenninger 15).
Pfenninger’s findings were similar to that of O’Connor in the sense that the film struggled to show instead of tell. The editing of the faith-based film Courageous has a
lack of intention that did not effectively communicate to the audience the emotions of the
characters (Pfenniger 68). Pfenninger concludes that lack of money or time is not an
excuse for the poor editing of the faith-based film. Instead, he suggests that Christian
filmmakers are actually ignoring the importance of editing in building character
dynamics and enhancing story telling. This study concluded that by adding in creativity
and thought to the editing process of faith-based films, Christians can create better quality
films that communicate their message in a more compelling manner.
Expanding beyond the criticism of poor quality, researchers have looked into
other main areas of critique for faith-based films. Rick Clifton Moore, Boise State
University professor of media arts, researched mainstream reviews of five Kendrick
Brother’s faith-based films in his article, “‘Take My Film and Let It Be’: Critics and
Consecration in Faith-Based Cinema.” Moore used critical discourse analysis, which is
used to examine an interrelated set of texts, and the practices of their production,
dissemination, and reception (Phillips and Hardy 10). Critiques made by Moore include
8 that the films are too preachy, relied too heavily on tropes and stereotypes, and lacked complexity (Moore 150). The criticism of a lack of complexity is echoed in the studies of
O’Connor and Pfenninger, which indicates faith-based films need to rework their filmmaking to gain standing with their audience.
These previous studies are significant because faith-based films can have an impact on their audience. Studies done by Patrick Calvain and James Trammell look at the repercussions Christian films can have on their viewers. When analyzing Christian media, Calvain believes it is important to look at the content within Christian movies and its biblical basis. All Christian films have a direct or indirect link to the Bible, even if they include disclaimers that the director departed from biblical teachings and/or stories
(Calvain 9). Therefore, whatever messages are put forth will be understood by the audience as Christian and can impact the spiritual being of the audience (Calvain 2).
Trammell agrees with Calvain's assessment of the constitutive power of Christian films.
He states that Christian movie directors must be “sensitive to the role that a movie may play in a person's understanding of religious belief and consider how the believing viewer may use the film to better understand the world” (Trammell 124). Moreover, these films could shift both non-believers and believers' view of Christianity and the world as a whole. Christian movie critic Jeffery Overstreet suggests that directors should be cognizant of how the artistic quality of movies can be used to better communicate spiritual themes and help the viewer understand the transcendent (qtd. in Trammell 123).
In her book Shaking the World for Jesus: Media and Conservative Evangelical
Culture, Heather Hendershot analyzes how evangelicals have used the film industry to spread their message. Hendershot notes that the industry is self-reaching as it focuses on
9 producing content for “Middle America” (Hendershot 6). While she concedes that the
Christian film industry has tried to widen its audience, it fails to do so because it refuses to present the biblical message without the telltale “and now a word from our sponsor”
(Hendershot 147). Moreover, a film that “only preaches to the choir” and acts as a
“subliminal advertisement for God will not succeed in converting outsiders (Hendershot
208). In order to garner the attention and respect of non-believers, Hendershot suggests
Christian films tone down their explicit messaging.
Looking forward, filmmakers are trying to formulate a new strategy for Christian media to enhance its effectiveness. In her book Transforming Culture: A Model for Faith and Film in Hollywood, Christine Gunn-Danforth gives a more direct route for Christian media to turn toward as she discusses a new “Jonahre” of film that allows the content, intent, and creative style of a film to reflect biblical storytelling. Since culture is reflected in as well as established by the power held by communication technology,
Gunn-Danforth posits the role of Christian moving-image media to be the creation and communication of a biblical culture on earth (Gunn-Danforth 54). Gunn-Danforth agrees with Hendershot in her assessment that one issue with the current state of Christian moving-image media is its limited reach. Much of the communication focuses on entrenching an interpretive community that is hegemonic in its beliefs. While this is a good strategy for monetary success, Gunn-Danforth thinks it fails in its true transformational purpose. Instead of “merely adopting the techniques of the secular marketing mentality and scientific stimulus-response theories of the mass media,”
Christian filmmakers should look to Hebrew prophets for guidance on storytelling
(Gunn-Danforth 14). According to the book, Hebrew prophets did not desire to persuade
10 individual audience members, but instead to inform the culture as a whole in ways that criticized the dominant secular consciousness while energizing a new, alternative style of living (Gunn-Danforth 5).
Instead of trying to persuade their viewers, Christian films should “stimulate new patterns of thinking and, in doing so, change society to reflect the justice, freedom, and peace resulting from a biblical style of life” (Gunn-Danforth 7). Similar to the way parables communicated intents instead of specific instruction for behavior, Christian films should present a society which Christ would call the Kingdom of God
(Gunn-Danforth 10). Additionally, filmmakers should realize that ‘how’ something is said serves as the main contributor to the impact of ‘what’ is said (Gunn-Danforth 137).
By using the “jonahre'' of storytelling, which reorganizes the imagination of the audience so that they become confirmed to a new world of biblical narrative, Gunn-Danforth believes Christian films can act as a vehicle for the adoption of an alternative cultural consciousness.
Most of these studies engage films that are positioned directly within the Christian film industry—as identified by the production companies, film messages, and the target audience. The vast majority of these studies begin with the premise that Christian films are easily identifiable but often lack the technical or persuasive skill to be effective. By contrast, this thesis contributes to this conversation first by highlighting how a film is seen by the audience as Christian. But, also by examining how Christian films might communicate biblical themes and how the paratextual resources that viewers have available can craft Christian lessons from the films. This thesis will extend the current literature on the Christian film industry by analyzing two faith-based films for their
11 cultural significance. Analyzing additional material beyond the films proper will allow this thesis to have a greater scope of the viewers interpretation and understanding of
Christians and non-Christians. The films God’s Not Dead and Silence will serve as
cultural artifacts for discussion.
This first chapter outlined the history and background information available on
the topic of Christian films. First, a brief history of Christian films was laid out. Then, an
overview of other studies conducted on the topic of Christian films was discussed.
Finally, the questions to be considered by this thesis, along with a working definition of
“faith-based films,” and how this thesis will add to the current literature was presented.
The second chapter of this thesis demonstrates the significance of studying a film
through cultural analysis. The relationship between films and culture as well as the
relationship between Christian films and culture is discussed. Cultural studies as a form
of analysis, the primary method in this thesis, is described. Finally, the methodology used
in the analysis chapter of this thesis is outlined, and the significance of performing a
cultural analysis on two faith-based films is discussed.
The third chapter of this thesis includes a three-pronged cultural analysis of God’s
Not Dead and Silence . After discussing the film selection process, the first section studies
the production and marketing of each film. This includes the filmmakers’ goals for each
film, the marketing materials used to promote the film, and the trailer for each film.
These paratextual sources are studied to gain a greater understanding of the purpose of
each film and how they each position themselves to an audience. Then, each film is
analyzed in the second section of this chapter. The analysis focuses on the character
development of Christians and non-Christians, themes, symbols, and storytelling present
12 in each film. The potential messages sent to the audience through these aspects of the film are discussed. Finally, the critical response and reception to each film is studied in the third section of this chapter. Critic and popular reviews of the film are studied to understand what messages the audience is taking away from each film, with a particular focus on the understanding of Christians and non-Christians. Each section highlights the intended purpose of each film and whether or not each film was successful in reaching their stated goals.
The final chapter of this thesis discusses whether or not each film is given a
Christian label. Several facets of this label are discussed, including a discussion on the
Christian culture industry. Through this discussion, a faith-based film pedagogy is revealed. Finally, the limitations and suggestions for future research are outlined, and the conclusions and significance of this thesis are presented.
13 CHAPTER TWO
Film and Culture, Cultural Studies, and Methodology
This chapter expounds the purpose and importance of the following analysis and discussion. This thesis will use a cultural analysis approach that studies the main texts and paratexts involved in two faith-based films. My use of cultural analysis centers around the messaging and representation present in those films as well as the broader paratextual resources that frame these messages and representations. As such, this chapter demonstrates the importance of interrogating a film to gain a greater understanding of its impact. First, the relationship between culture and film is discussed. Then, the interactions between Christians and culture as described by significant theologians are explored, and the importance of Christian films as a part of contemporary culture is described. Next, an overview of cultural studies and the ideas of prominent cultural studies theories are explained. The methodology for this thesis, in light of cultural studies, is then laid out. Finally, how a cultural analysis approach is useful in gaining knowledge about Christian films as well as what potential insights there are to be gained about Christian films and popular culture is considered.
Culture and Film
Understanding culture is necessary for grasping the importance of this thesis.
Therefore, a definition of culture and an overview of its importance is given first. Then, the relationship between culture and film is detailed. Film is discussed as a cultural communicator with the ability to build or entrench ideologies, as well as a cultural
14 product with the ability to showcase the values of society in a particular moment in time.
The following discussion of culture and film highlights the importance of this thesis as it pertains to the impact of faith-based films.
Culture is a dynamic process that both creates meaning for things and lives according to those meanings (Romanowski 43). It produces “the behaviors, the practices, the institutions, and the meanings which constitute our social existence,” (Turner 52).
Moreover, culture helps us make sense of our world by providing expectations and shaping experiences. It is a “system that gives people assurance about themselves and certainty about existence” (Romanowski 43).
Art can be studied as one of our main cultural communicators (Hall 11). Art reflects society insofar as it “addresses contemporary issues and treats them in ways consistent with current perspectives” (Romanowski 32). While art does reflect society, it also glamorizes and emphasizes ideals, values, and beliefs that exist within our culture in its portrayals. Therefore, more than just a reflection, art has the power to shape lives and actually create culture (Romanowski 32).
Films, falling under the category of art, act as a significant storytelling medium in the twenty-first century (Johnston 25). The stories told through movies are major cultural communicators that reflect the values of society. They help viewers “see” life and gain experiences and understanding in a wider variety than would be otherwise possible by other mediums (Johnston 27). They act as a type of “cultural glue” by reinforcing myths
(Johnston 25; University of Minnesota 42). Films mix the archetypal and the ideological, their language shaping culture while also being shaped by it (Rushing 36). Because of a film’s ability to transmit the beliefs and values of the time, they are able to act as a cultural memory (Romanowski 28). Films can be classified as a cultural medium as they
15 “actively define reality, shape the times, and give meaning to the history we witness and experience as ordinary citizens” (Hunter 225).
Films, just as other cultural mediums, have the potential to “mirror, reinforce, challenge, create, overturn, or crystalize beliefs and fears” (Ostwalt 156). As a mass communication medium with popularity, films can plant powerful and emotional images in our minds (Baehr, 39). These images potentially influence our lifestyles by framing our aspirations and values. Film’s materialize “both fantasy and the fantastic,” they are a
“phantasmagoria, an illusion and a symptom of the social unconscious” (Mulvey and
Sassatelli 118). In this way, we see the give and take of film and culture as both create and are created by one another. Moreover, films are “life stories that both interpret us and are being interpreted by us” (Johnston 34). One aspect of a film’s power and success is how well it embeds partially hidden meanings of culture, which results in a strong, often emotional, audience response (Sassatelli 120). While films influence the culture that consumes them, they are also a part of that culture, meaning that they are themselves a product of it. So, the concerns, attitudes, and beliefs seen in films are at least partly a reflection of the culture in which the film was produced (Hall 4).
Films play an increasingly significant role in defining both ourselves and our culture. They have become the “lingua franca” of storytelling; they broaden a viewer’s exposure to life experiences and “provide alternative interpretations of life’s meaning and significance” (Johnston 33). The language and visual nature of film allows it to have an impact on multiple levels. Visual representations within films facilitate the formation of identities (Sassatelli 124). As stated by Jodie Foster in Movie Nights, “movie characters’
ideals become our ideals. Their thoughts become the standards of our thinking and
language” (qtd. in Johnston 25).
16 In short, films are an important component of culture as well as an important creator of culture. Films can impact our individual behavior, and shape our understanding of ourselves, the world itself, and those within it. They “tell us something” about the world we live in through their messages, and we gain our “collective images of ourselves, our values, and our social world” through their representations (Johnston 89). Therefore, different types of films, such as Christian films, have a complex relationship with culture.
Christian Films and Culture
To discuss the interactions of Christian films and culture, first we must look at interactions of Christians and culture. Christians have differed on their view of how they are to engage in the culture of modern society and art. First, this section describes the relationship of Christians and culture as laid out by H. Richard Niebuhr. Then, the significance of film as a cultural medium is re-emphasized with a focus on Christian films and their proliferation. Further, the circulation and trends within Christian films are discussed. Finally, the importance of Christian films within contemporary culture is addressed.
Niebuhr, a theologian, studied the “enduring problem” of Christians finding an appropriate response to popular culture (Guenther 1). His book, Christ and Culture, is considered to be a germinal volume on Christian ethics. Niebuhr presents and evaluates five models of Christian engagement in popular culture. These models are based on different popular theologians whose beliefs fit within each category. The purpose of discussing these models was to express the complexity of the relationship between
Christians and culture as well as present responses to the “enduring problem” (Guenther
1).
17 The first model of Christian engagement within popular culture is “Christ against culture” (Niebuhr 40). This view sees Christ and culture in opposition with each other, so
Christians should isolate themselves from culture as much as possible (Niebuhr 40).
Second, Christ of culture. Christ and culture are in alignment as Christ “is a part of culture in the sense that he himself is part of the social heritage that must be transmitted and conserved” (Niebuhr 41). Third, Christ above culture. In this model, Christ is the
“fulfillment of cultural aspirations and the restorer of the institutions of true society”
(Niebuhr 42). Moreover, within this view, culture can be good as long as it is revealed by
Christ and directed by him. Fourth, Christ and culture in paradox. Similar to Christ against culture in the sense that Christ is seen in opposition to culture, but the importance of culture is still recognized. Christians who follow this model live between two worlds, a constant tension present as they are unable to hold solid beliefs about either (Niebuhr 44).
Fifth, Christ as the transformer of culture. This view believes that “human nature is fallen or perverted, and that this perversion not only appears in culture, but is transmitted by it”
(Niebuhr 45). Therefore, Christians are called to seek restoration and have faith that
Christ has the power to transform culture.
In line with the last model, that of Christ as the transformer of culture, is where many Christians have found their role in the film industry. According to a 2019 teen media consumption report conducted by Common Sense Media, teens are using various screens nearly seven and a half hours a day, not including screen time for school or homework (Maltzer). If compared to a teenager who goes to church for one hour every
Sunday, one’s media consumption outside of church would almost triple his or her in-church media consumption. Research done by Pew Research Center seems to support the claims of Common Sense Media with a 2018 study that showed 45% of teens
18 describing their internet use as near-constant (Anderson and Jiang). The entertainment industry, and film in particular, “has changed traditional education and communication in profound ways” (Frost and Hirsch 151). Christians, adopting McLuhan’s notion of the
“medium is the message,” have noticed the significance film can have in spreading their message. Film’s ability to tell stories, which is a normal communicative form used by
Christians (i.e. parables), makes it a good vehicle for providing experiences of life, a greater understanding of Christian culture, and a “theology of everyday life” to which viewers can subscribe (Leopard 23).
Christian films are typically made for a sizable, but niche market with a bend toward the tastes of that audience (Wilkinson). Christian films, faith-based films specifically, targeted to an already Christian audience, reached a peak in popularity in
2014 and 2015 (Wilkinson). In 2016, a shift began to occur in television and film.
Christianity was no longer confined to “Christian media” or a stigmatized character set.
Instead, onscreen religion was present in films and shows aimed at mainstream audiences, focusing on the exploration of faith and doubt in people’s lives (Wilkinson).
The question of being confronted and challenged on one’s most core beliefs became a trend (Wilkinson). Moreover, ideas present in Christianity were spreading to audiences beyond the narrow Christian marketing niche. Christianity was positioned not just as an add-on to a character’s life, but “as a system of beliefs among and overlapping with other systems of beliefs” (Wilkinson). A Pew Center Research religious landscape study in
2014 found interesting changes from their 2007 study. Although the percentage of believers in God were decreasing in the United States, there was an increase in the number of respondents (including the religious “nones”) who said they “felt a sense of wonder about the universe at least once a week” (Pew Center Research). So, while fewer
19 respondents claimed to be religious, they were still searching for meaningful ways to understand and interact with the world. This study helps make sense of the previously discussed trends seen in movies and film. Tackling the implication of pluralism and
Christianity as a formational identity was a defining feature of many films in 2016, which possibly mirrored a similar cultural anxiety concerning belief and doubt (Wilkinson).
This more mainstreamed religious media offers viewers the opportunity to examine truth claims and to transform their lives through the portrayal of Christians
(Leopard 58). A study done by the Barna Group on the impact of the 2016 film, The Da
Vinci Code, in influencing or changing the beliefs of viewers suggests that films and books do have the ability to change one’s views. While most people either found confirming information or information that served to connect some beliefs in new ways, the study “anticipated that almost one-million more people could change a religious belief by seeing the film” (Leopard 41). Therefore, films presenting Christianity in mass media can challenge common ways of thinking and the belief systems held most popularly in society by inviting popular culture to engage with Christianity (Leopard 61).
Christian films are an important part of contemporary culture as they are one of the best ways for the Christian faith and the culture of present time to connect (Johnston
51). Pope John Paul II, in his address to the festival for the third millennium, stated that the cinema enjoys “a truly great variety of narrative forms...it can contribute to bringing people closer together, to reconciling enemies, to favoring art and ever more respectful dialogue between diverse cultures” (John Paul II). Christian films, when made carefully, can strengthen the bond of Christians as a group while also welcoming in others to understand Christianity better. Christian films ask and answer the three questions that a good movie asks: who are you, where did you come from, and what should you do
20 (Schuchardt). These questions help viewers build and understand their identity. The representation of Christians on film, and how they answer those questions, guides the viewer in his or her embodiment of a Christian life.
Christian films seem to have found their spot within Christ and culture. Looking through the Niebuhr model of Christ as a transformer of culture, films can provide a
“resource in our personal and societal search for meaning and transcendence” (Johnston
53). As shown by previous research, film is a pervasive messaging medium within society. By producing films that express Christian messages, those within the church may
“develop a clearer understanding of how religion is both perceived and expressed today,” and, for those outside the church, Christian films may act as an “occasion for relating missionally” (Johnston 53). Overall, Christian films are important as they can bridge the gap between spiritual and secular by creating a new, intertwined culture. The study of how Christian films impact culture is one of the key aspects of this thesis.
Cultural Studies and Analysis
Cultural studies is an “innovative interdisciplinary field of research and teaching that investigates the ways in which ‘culture’ creates and transforms individual experiences, everyday life, social relations and power” (UNC). In this section, a brief history and evolution of the field is laid out, which allows one to understand its use in academia. This section then describes two theorists whose work falls within cultural studies to help build a structure for analysis that can be used in this thesis. Finally, the ways film has been analyzed using cultural studies and the benefits from using such an approach is discussed.
21 An early model of cultural studies analysis was produced during the 1930s with the Frankfurt school (Kellner). The Frankfurt school developed a “critical and transdisciplinary approach to cultural and communications studies, combining critique of political economy of the media, analysis of texts, and audience reception studies of the social and ideological effects of mass culture and communications” (Kellner). Cultural studies in this early tradition focused on the political economy of media and audience reception.
In the 1960s and 1970s, the Centre (also known as the Birmingham Centre for
Contemporary Cultural Studies), developed many critical approaches for the analysis, interpretation, and criticism of cultural artifacts (Kellner). The Centre was among the first to study the effects of newspapers, radio, television, film, and other popular cultural forms on audiences; they explored contrasting audience interpretation and reactions to media (Kellner). One main aspect of cultural studies is its comprehensive, transdisciplinary approach to studying culture. It encompasses textual analysis, audience research, and critical perspectives to dissect meanings, messages, and effects of cultural forms (Kellner). Cultural studies and analysis are part of a “critical media pedagogy that enables individuals to gain sovereignty over their culture, struggle for alternative cultures, and increase their freedom and individuality” by increasing awareness of media’s power (Kellner). By widening the scope of what constitutes a cultural artifact and how analysis of that artifact should be conducted, the Centre helped develop the comprehensive nature of cultural analysis that makes it fitting for cultural commentary.
Two cultural scholars, Raymond Williams and Stuart Hall, stand out in light of this project’s research regarding Christian film. Theorist Raymond Williams studied culture on three levels of existence, which helps set the basis for understanding how
22 culture can be analyzed. He studied “lived culture” as the experiences of people in their lives at a particular time and place; “period culture” as the products and daily facts from a culture, and “selective tradition culture” as the connector of the previous types of culture, including the interests and values of the dominant class which shape the later understanding of that culture (Williams 40). Williams believed culture to be a description of a particular way of life, which includes an “ideal state of human perfection in terms of universal values” (Williams 45). From the study of culture or a cultural artifact, one can understand its “structure of feeling” or ideology, which encompasses the shared values of a particular group at a particular time and place (Williams 46). Therefore, studying film as a “selective tradition culture” artifact allows the ideology encompassed within a particular film to be explored.
While Williams defined the categories of culture and the artifacts that fall into those categories, Stuart Hall assembled a system for understanding and analyzing the communication and exchange of culture. Hall focused on studying culture through the analysis of the process of production and distribution, textual products, and reception by the audience. Hall is famously known for his work on encoding and decoding. Encoding of media artifacts includes enhancing one’s analysis of a text by studying the ways that media is actually produced within the structure of the current culture (Hall 14). Moreover, the process of encoding includes what the producers consciously wanted the artifact to communicate, but also includes factors of production (Benshoff 16). The decoding of media artifacts involves an individual's understanding of the artifact from their particular cultural position (Benshoff 16). One important consideration is that the producer’s intent when encoding may not align with the decoding of the artifact done by the audience
(Benshoff 16). An individual may decode a text in a preferred reading (in alignment with
23 the producer’s intent), an oppositional reading (in contrast with the producer’s intent), or a negotiated reading (accepting some aspects of the producer’s intent while rejecting others) (Benshoff 17). The meaning of the text is a negotiation of the encoded and decoded messages. When studying a film as a cultural artifact, the production of the film and marketing surrounding the film would be included in the encoding whereas the audience response would be included in the decoding of its message to society.
Applying cultural analysis to film includes the films themselves, their production, and audience reactions (Gunning 190). Film studied through cultural theory is treated as
“another form of culture which should be analyzed in the context of wider social structures, and wider cultural process of power, ideology, oppression, and mystification”
(Lyden 277). Moreover, it challenges the idea that films are just for innocent pleasure by exploring their power as a cultural artifact. By following the “circuit of culture,” a holistic approach when studying film will analyze not only the film itself but also related paratexts (Johnson 281). By focusing on bigger ideas of the cultural artifact such as questions of production and marketing, identity, and consumption, the text of the film is placed in a much broader cultural framework. Further, attention to the ways religion intersects with the film in terms of “motivations, practices, and resources of social and political networks” can help one understand the cultural impact of the film (Lyden 286).
Cultural studies focus around the ideas of “culture, signifying practices, representation, discourse, power, articulation, texts, readers and consumption” (Barker
45). Cultural studies has been developed and furthered as an academic field of study by the Frankfurt school and, later, by the Centre. The work of Raymond Williams helped define and encapsulate the study of culture, and the work of Stuart Hall set a diagram for analyzing culture. Because of its transdisciplinary nature, using analysis techniques based
24 within the work of cultural studies, the messaging within a film can be better understood.
Therefore, this thesis will use cultural studies and analysis as its basis for methodology.
Methodology
This research will use a three pronged approach to cultural analysis of films: 1) study of the production and marketing of the films; 2) analysis and critique of the films themselves including representation and narratives; and 3) study of the audience reception and response to the films.
For the methodology of this study, I will first watch the trailers for both films and watch the films from start to finish. To analyze the encoded messages of each film, I will do background research on the making and marketing of both films. Background research will include the reputation of the director and production company, anticipation for the film via website articles and opening weekend sales, the purpose of the film according to its makers, promotional materials for each film, and other box office data. Further, I will watch the trailers again noting the editing, symbols, and main themes communicated.
Next, I will watch both films again paying attention to the character development (in particular the development of Christian characters versus non-Christian characters) and storytelling, as well as the symbols, representations, and main themes communicated.
Then, I will look at reviews of the films. Websites such as Rotten Tomatoes will be used to source the audience reviews given that the site aggregates professional film reviews and all available popular reviews. I will analyze the textual components of the reviews for understanding of Christian values and identities, and I will also note the numerical scores given to each film by the reviews. I will perform Lexis Nexis searches on terms such as [“God’s Not Dead” w/50 Christian”] and [“God’s Not Dead” w/50 values] to help
25 populate newspaper and magazine articles to analyze for the decoded messages of each film.
Finally, I will fully analyze all components to determine how films are identified as Christian and the ways viewers process the narratives and lessons of Christians films.
Analysis of the production and marketing paratexts will bring to light how each film is either branded or stripped of the label of faithfulness due to framing and market orientation. A character and storytelling analysis of the main text, the films, will help determine what faith-based films are communicating to audiences about the identities of
Christians and non-Christians. The character analysis will focus on the representation of both Christian and non-Christian characters, and the storytelling analysis (which includes the editing, themes, and symbols) will help support the identity formation present within the characters and the values of Christians as depicted by each film. The final question of whether or not Christian films not made within the industry model can communicate
Christian messages will be discussed in light of the audience reception and response to the films. Analysis of reviews will reveal the success and validity of each film’s communication and representation of Christians and non-Christians. Reception and response will be studied by reading critic reviews of the films. A critic review is an example of a “critical paratext” as it actively works to either deflect readers from certain texts or to inflect their reading when it occurs (Gray 36). Moreover, the reviews will shape the readers understanding the film and, therefore, make it possible to discover likely audience interpretations.
Study of paratexts will include analysis of the reputation of the director, analysis of the marketing material used before and during the films time in theatres, analysis of the branding and target audience for the films, and analysis of critic reviews. Paratexts, in
26 general, are both “distinct from and a part of the text” that is being analyzed (Gray 6).
They include the surrounding texts that “establish frames and filters” through which the main text is understood (Gray 3). Moreover, paratexts support the narrative of the main text by orienting the viewer with instructions on how to consume the media (Pesce and
Noto 2). Within the context of faith-based film analysis, paratexts include the discourses and practices surrounding the film that “construct a rubric of interpretation” (Varda and
Hahner). The ability of paratexts to clarify or amplify a meaning of the main text makes them necessary to understand what the text means to popular culture (Gray 26). The film does not stand alone from the “contextualizing powers of paratextuality,” and the study of these discourses allow a fuller understanding of the cultural impact, value, and meaning of the film (Gray 7).
Overall, this thesis, in light of cultural studies and the work of cultural studies theorists, will employ a three pronged cultural analysis approach for its methodology. It will examine the main text (each film) as well as paratexts (marketing materials, reviews of the films, etc.). A combination of these analyses will aid in the conclusion of this thesis as it aims to understand the messages presented in two faith-based films. A further conversation on the impact of these films, and films similar to them, on contemporary culture will be able to be discussed.
Cultural Analysis and Faith-based Films
This final section explains why cultural analysis is the best approach for analysis considering the objectives of this thesis. The usefulness of cultural analysis in gaining knowledge about faith-based films, specifically about their representation of Christians and non-Christians, is discussed. Then, potential insights to be gained about Christianity
27 and popular culture through the work of this thesis are offered. Moreover, the importance of this thesis is highlighted.
Cultural analysis lends itself to understanding what a cultural artifact is expressing (Storey 216). It can facilitate the analysis of production, representation, and consumption of a wide range of social products and cultural artifacts such as films
(Scherer 521 ). Issues that are typically discussed “abstractly and idealistically seem to flow effortlessly and relentlessly from the texts of popular culture,” which makes them ripe for cultural analysis (Lipsitz 627). Faith-based films, when studied through the lens of cultural analysis, can be dissected for complex messages about Christianity and the secular world which might otherwise go undiscussed.
A significant portion of cultural analysis is focused on “questions of representation; that is, on how the world is socially constructed and represented to and by us in meaningful ways” (Barker 12). On screen representation is important because it is one way that identities, or how we describe ourselves to each other, are constituted
(Barker 22). Identity formation usually coincides with the arrangement of both in-group memberships and out-group oppositions. This will be significant in the study of faith-based films as the representation of Christians and non-Christians through the films can shed light on cultural understandings of the two groups and their relation to one another.
Further, mechanisms of representation within faith-based films contain “covert as well as overt ideological messages” (Lipsitz 617). Ideologies can be described as “maps of meaning” that claim to be “universal truths,” but are “actually historically specific understandings that obscure and maintain power” (Barker 13). The narratives provided in faith-based films offer us frameworks for understanding ourselves and others, and can
28 lead to the formation of ideologies (Edgar and Sedgwick 14). The ideological power of film is that what matters “is not what happens in real life, but rather the positive and negative messages, prescriptions, and taboos that the spectator absorbs by means of identification” with the film (Adorno 232). If faith-based films continually show a uniform representation of Christians and non-Christians, then those films can serve as a
“mode of ideological reproduction and hegemony” that shapes modes of thought and behavior within society (Kellner). Moreover, the maintenance of a particular representation of Christians and non-Christians through the medium of film can produce meanings and practices which hold significance within those groups and the interactions between them.
The benefit of conducting a cultural analysis is that it might “generate insights that could lead to more authentic, imaginative, and liberating forms of human culture, or help us to see the world in more complex ways in which we do not compress human experience into limiting categories or conventions” (Lyden 278). By analyzing a medium in which identities are produced, represented, and possibly contested, one can gain a greater understanding of the communicated cultural identity of both Christians and non-Christians (Scherer 521). Also, analyzing the marketing and audience responses of the two films allows Christian values and the branding of faithfulness to be further considered.
As shown in previous literature, Christian films are sometimes dismissed in light of their lack of filmmaking technique and storytelling polish. In this sense, it may seem that an analysis of faith-based films is unnecessary due to their seemingly inherent inadequacies and less than respectable position within the film industry which leave the films to hold little social influence. We, as a society, already know the common critique
29 that Christian films are normally not the highest quality productions. However, this “But we already know all this!” defense is made in order to “dismiss insights as irrelevant because they are actually uncomfortable and make life more difficult for us than it already is by shaking our conscience when we are supposed to enjoy the ‘simple pleasures of life’” (Adorno 235). Analysis of faith-based films should not be dismissed, as the films garner large audiences and have the potential as a medium to impact culture with their messages.
The importance of this analysis of faith-based films lies in its potential to reveal a faith-based pedagogy that expresses values, messages, and a particular Christian identity to popular culture and to consider how Christians might reflect on the representation within those films. Employing the interdisciplinary tenets of cultural studies to the analysis of the main texts and paratexts involved in the communication of two faith-based films allows a multi-faceted discussion to take place. It will facilitate discussion on representations within the texts, the identity and ideological formations constructed through the texts, and the cultural repercussions of those messages.
30 CHAPTER THREE
Cultural Analysis
This chapter offers a cultural analysis of two films and their accompanying paratexts: God’s Not Dead and Silence . The analysis will be conducted according to the
methodology laid out in chapter two. Before beginning the analysis, I will explain why
these two films in particular were chosen for analysis. The three-pronged analysis will
begin with study of the production and marketing of the films. Then, I will analyze and
critique the films themselves, paying particular attention to plot, characters, themes, and
messaging. The final section will include a study of audience and reviewer response to
the films. The implications of particular encoded and decoded messages will be discussed
throughout the chapter.
Film Selection Process
This thesis will analyze two movies: God’s Not Dead and Silence . Both films fit
into the faith-based genre as previously defined in chapter one of this thesis. These two
movies each supply a unique vantage on faith. The Christian faith is a significant aspect
of the main character’s journey, a predominant theme, and impacts the setting of both
films. Additionally, both films are based off of pre-existing books. God’s Not Dead is
based on the Rice Broocks book of the same title, and Silence is based off of the Shūsaku
Endō book of the same title. Both films are centered around the topic of faith, the issue of
the denial of God’s existence and a Christian’s response to that denial. Further, both films
are significant in their representation of Christians and non-Christians as both include
31 conflict between the two groups.
The films were also released around the same time period, God’s Not Dead in
2014 with Silence following behind in 2016. As discussed in chapter two, while
faith-based films had been made before, 2014-2016 was a time period when faith-based
films were at their peak in popularity (Wilkinson). Moreover, 2014 was dubbed “the year
of the Christian film” after the release of Darren Aronofsky’s Noah (Rothkopf). The rise
in popularity was due in part to Christians proclaiming visibility from filmmakers,
suggesting they had often felt overlooked, left behind, and “like there’s nothing for them”
(Rothkopf). Further, Christians often expressed an underlying desire for inspiring,
meaningful films that could be watched by the whole family, a factor that also played a
role in the success of faith-based films during this time period (Honeycutt). Once
faith-based films began to gain real momentum and popularity in 2014, many more films
were made, exploiting the niche market. By 2018, the rate of faith-based films released in
theaters annually had “doubled since 2012 to about 12 a year” (Faughnder). However, the
rise in popularity of faith-based films has been dwindling as more compete for success,
thus leaving some to fail financially (Faughnder). Therefore, the years of 2014 and 2016,
in which God’s Not Dead and Silence respectively released, were a prime period in time
for them to succeed both financially and in popularity, if not in cultural resonance.
Significant differences between the films include their settings (God’s Not Dead
in the present, Silence in the past), and the caliber of actors and production workers on
the films. Silence has more highly awarded cast members and production workers than
those in God’s Not Dead. Silence is directed by Martin Scorsese, who is the
most-award-nominated living director (Britannica). Silence also features three Academy
Award nominated actors: Andrew Garfield, Adam Driver, and Liam Neeson (IMDB). In
32 contrast, God’s Not Dead, directed by Harold Cronk features lesser known actors, TV personalities, and a Christian band. Other differences between the films, such as (but not limited to) box office reception and marketing tactics, will be discussed in this chapter and then further noted in chapter four. These similarities and differences will help facilitate a discussion about the label of faithfulness given to some Christian films, the messages present in those films, and the representation of Christians and non-Christians.
Production and Marketing
This first section will study the production and marketing of each film. This includes the reputation of the director and production company, anticipation for the film via website articles and opening weekend sales, the purpose of the film according to its makers, promotional materials for each film, and other box office data. Additionally, it will include an analysis of the editing, symbols, and main themes communicated in both trailers.
God’s Not Dead
Background and purpose of the film. The film God’s Not Dead was intended to be a transformational experience. Both the director and producers of the film desired for their work to be more than pure entertainment; they sought to shape broader culture through lessons about faith. The director, Harold Cronk, is known for making films on
“shockingly low budgets,” with the hope of conveying the human condition through stories that include “deep faithful questions about the way the world works” (Sahms).
The production company for God’s Not Dead , Pure Flix Entertainment, was started in
2005 by a group of friends who had a “passion for influencing the culture for Jesus Christ
through media” (Pure Flix). Their promise to members of Pure Flix Entertainment is that
33 they will provide entertainment “free from uncomfortable surprises for you, your family and your community” (Pure Flix). Further, the company desires to inspire viewers as a
“transformational voice in our culture,” that produces “God-honoring media that strengthens your faith and values, is wholesome, and is suitable for the entire family”
(Pure Flix).
The makers of God’s Not Dead say the film, as a film in the faith-based genre,
should be directly applicable and relatable to Christians. They describe the film as an
invitation to believers to “consider the intersection of a scripted version of faith with
one’s own spiritual journey” by engaging viewers in the “reality of everyday life in
scenarios with which believers can relate” (Pure Flix). They see another, more specific
purpose with God’s Not Dead. They want the film to not only be a depiction of Christian
living, but an evangelical tool as well. The film, according to its producers, offers
Christians an opportunity to “proudly state” God and “humbly invite others to know Him
too” (Pure Flix).
Further, God’s Not Dead seeks to impart multiple lessons to the audience. The specific lessons they wanted viewers to receive after viewing the film were listed on the
Pure Flix Entertainment website: (1) God will guide us [Christians] through difficult moments in which we must take a stand for our values (2) God must be our first priority, proven through our faith, fortitude, and character (3) God can give peace amid uncertainty (Hallowell). These specific lessons can be broadened into two goals of providing the audience with Christian teachings and evangelism. The guidebook demonstrates the specificity of the lessons desired by Pure Flix. These lessons are not necessarily applicable to all Christians, but reflect a particular inflection of faith, one that situates Christians as needing to “take a stand.” In this lens, Christians may be under
34 assault or fearful of outside influences, and it is important that filmmakers support them in resisting a presumed opposition.
Through the stated lessons and purposes of the film, we can see the filmmakers have the intention of educating the audience on Christian ideals and teachings, evangelizing the non-Christian audience as well as calling the Christian audience to the action of apologetic evangelization, and transforming the present culture. The former intentions are directed by the latter with transforming the present culture being the purpose that underlies the entire project. In this understanding, the purpose of educating the audience on Christian ideals and teaching is to bring about a transformation in the present culture. And the purpose of evangelizing non-Christians as well as calling
Christians to evangelize is also to facilitate that broader transformation further. By believing culture to be in need of transformation, and believing God’s Not Dead to be a
potential medium through which culture can be transformed, the importance of the film
goes beyond that of entertainment to its makers. This understanding will influence how
the film markets itself to Christians and non-Christians, as well as how it presents each
group within the film itself.
An additional aspect to note is the film's budget of $2 million, which is considered
small in the movie industry (The Numbers). A small budget makes sense as the film is
seen by its makers less in an artistic sense and more so as a medium through which the
goals of Christian education, evangelization, and shaping the broader culture can be
accomplished. The budget, when paired with a relatively new and unknown production
company, indicates that the film will be low in quality (including the caliber of acting and
screenwriting). This quality level was normal for films within that time period that
35 categorized themselves as faith-based, so viewers would not be surprised by the quality, and most likely expecting it.
Marketing of the film. The marketing of God’s Not Dead utilizes materials that
not only aid in the promotion of the film, but also work independently to further the aims
of the film. The promotional materials include YouTube interviews with the cast, a
campaign guide for churches, an app, a study guide, and a texting promotion. These
materials are more varied and grandiose than that used for Silence , but this film does not
have the reputation of director or actors to attract an audience. Additionally, the goals of
God’s Not Dead are more extensive and ideological than that of Silence .
The YouTube interviews, which work in a more traditional marketing sense, were
posted before the release of the film and included discussions with cast members in order
to bring in an audience. The interviews from Willie and Korie Robertson, Kevin Sorbo,
the Newsboys, and Shane Harper center around two questions: why people should watch
the movie, and why the movie is important. The Robertsons tell Christians that they can
“impact our culture by supporting Pure Flix” because this movie has the ability to
“permeate Christian values into our culture and make change” (PureFlix). Sorbo
encourages viewers to watch the film because it can open up their eyes, mind, and heart
to “look at the possibility that there is something out there that started everything, that
there is a plan, a purpose, and you're supposed to be part of it” (PureFlix). The interview
with the band Newsboys ends with the declaration that “God’s Not Dead” has gone
beyond a song, book, and movie. They believe it is a movement for people that are “tired
of God being marginalized and being told that He is irrelevant in our lives or that he is
just for old people or Sunday morning” (PureFlix). They see the movement as a reaction
to a desperation for truth that is “roaring like a lion in our hearts and hopefully soon in
36 unbelievers’ hearts” (PureFlix). This traditional marketing tactic serves the necessary function of promoting the film so that the film’s message can be heard.
In addition to acting in a traditional marketing sense, these YouTube promotions suggest that Pure Flix understands its role to go beyond educating Christians or providing them with relatable entertainment. Further, they suggest that Pure Flix sees God’s Not
Dead as a tool within a culture war between Christians and non-Christians. As demonstrated by the statements that God’s Not Dead is a “movement for the marginalized” that can “permeate Christian values into our culture,” the film is a rallying call to Christians and a push back against a culture deemed by Pure Flix to be in need of change.
The following God’s Not Dead promotional materials work on multiple levels.
They serve as a tool to promote the movie as well as an education tool and an evangelical
tool. The campaign guide is a promotional tool that is to be used before watching the film
whereas the texting promotion, app, and study guide are tools that can be used after
watching the film.
The campaign guide is an instructional manual for churches on how to utilize the
film to the benefit of their church and community. Within the campaign guide, Pure Flix
Entertainment includes ways to support the film and explanations for why that support is
necessary. They suggest renting out a theater for one or more showings, liking and
following all God’s Not Dead social media accounts, and purchasing and sharing the
God’s Not Dead DVD when it is released (Appendix). Watching and supporting the film is described as a way to “stand boldly in the face of cultural trends that threaten the practice of faith” (Appendix). This statement suggests the importance of seeing the film lies not just in the lessons provided in it, but in the message that supporting the film sends
37 to the greater culture. Further, it implies that the current culture is in opposition to
Christian beliefs and should be seen as dangerous to Christians.
The guide claims that the support from churches and the success of their campaigns are essential not only to the ministry within their local communities, but also to the “future of an entire genre of faith-based motion pictures” (Appendix). They go on to state that current films do not reflect Christian “moral convictions or faith in Christ,” and that God’s Not Dead, as well as future films by Pure Flix, must be financially
supported to ensure more faith-based films are able to spread their reach and impact lives
and culture (Appendix, 1). This statement situates the film, and its success, as essential to
Christian media and messaging as a whole. Through this lens, the box office success of
God’s Not Dead is reflective of Christianity’s value within the current culture. So,
Christians will be making progress in a culture war if the film does well.
Additionally, the guide states that encouraging non-believers to watch the film
with them is an opportunity to publicly declare their faith in God and share the value they
place on faith with “unchurched friends” (Appendix). The stated goal of the guide is to
“begin a movement within the identity of people” in which Christians “experience
significant renewal” and non-Christians “will receive an invitation to place faith in Christ
and experience total life transformation” (Appendix). This goal demonstrates that Pure
Flix sees itself as a material source for local evangelism as well as launching pad for a
“new era of ministry” in which the Christian identity is at the forefront of popular culture
(Appendix 1). This part of the campaign material aligns with the texting promotion at the
ending of the film. Before the screen turns black, the call to action “Are YOU up for the
challenge? Text “God’s Not Dead’ to 10 friends RIGHT NOW!” is flashed. This
38 produces an immediate, albeit small, act of evangelization as well as a large amount of promotion for the film and its corresponding movement.
The campaign guide, along with the text at the end of the film, promote an upfront and aggressive approach to evangelism. The guide and texting promotion suggest that by increasing the cultural relevance of Christianity and making the beliefs of Christians more widely known, non-Christians will see Christianity in a new way. In addition to the larger goal of transforming culture, the specific evangelistic strategies the guide offers demonstrates a belief that declaring and defending one’s faith in a direct manner will result in non-Christians becoming Christians. Overall, the guide emphasizes the importance of film as a cultural medium through which the voices of Christians can be heard and spread to non-Christians.
A GOD’S NOT DEAD app was developed to further the goal of education by explaining “the evidence for the Christian faith, as featured in the God’s Not Dead movies and in the books by Dr. Rice Broocks,'' as well as provide “quick answers to the most common religious questions, and links to more in-depth resources for further study.”
The app includes a summary of the gospel followed by a “prayer to be saved” and a “how to be a Christian starter pack.” Apologetic lecture videos as well as a FAQ page about
God/Christianity is found on the app. The app is an evangelistic tool to help Christians with their messaging by showing them how to talk about their faith. The app partners with another application, THEGODTEST, which first asks the question, “Do you believe in God?” Depending on your answer, the app asks 10 different questions about your reasoning to the first question. The intention behind THEGODTEST and its ties with the
GOD’S NOT DEAD app is to “facilitate dialogue on the critical issues of faith, skepticism, and the meaning of life.” Another education tool released by Pure Flix was a
39 study guide entitled, “God’s Not Dead Study Guide: What Do You Believe?” The study guide, made in an adult and student version, includes key verses, movie quotes and clips, warm up questions, study lessons, and reflection questions. The stated purpose of the study guide is to “help you discover what you believe and how to stand for it.” While all three of these promotional devices are educational, they also have an evangelical and cultural component to them. The apologetic videos and study guide teach Christians how to “stand” for their faith and share it with others. These devices also provide Christians with a concrete way to offer Christian beliefs to non-Christians, such as having them take
THEGODTEST. The need for these promotional apps, which act as tools for Christians to combat questions and skepticism from non-Christians, highlights the cultural conflict that is seen within God’s Not Dead.
The trailer for God’s Not Dead communicates the main theme of faith, and the message that Christians must stand up for their faith and trust in God during trials. The trailer seems to be oriented toward an already Christian audience as shown by its use of out-group/in-group signifiers in the trailer’s text clips. These clips pop in throughout the trailer saying “some question his existence, some have lost faith, when your faith is tested, fight for what you believe.” “Some” refers to non-believers while “your” refers to believers. Thus, it appears the trailer is assuming its viewers will be Christians, or that non-Christians will be nudged toward faithfulness through this division.
The trailer begins with a clip of a man talking to an elderly woman, who appears to have dementia. He says, “You prayed and believed your whole life, and here you are.
Explain that to me.” The trailer quickly cuts to a scene highlighting Willie and Korie
Robertson of Duck Dynasty. They are being interviewed about why they include prayer in their show when some people find it offensive. Willie makes the claim that “if we disown
40 Him, He’ll disown us.” This claim acts as a warning to Christian viewers, suggesting negative ramifications occur if one does not publicly proclaim their faith.
By this point, it is clear the film will deal with a conflict between Christians and non-Christians. The majority of the trailer is one long classroom scene that sets up the main conflict of the movie: Josh Wheaton (Shane Harper) refuses to write ‘God is dead,’ because he is a Christian, and now he must prove the existence of God to his professor
(Kevin Sorbo). The significance of this challenge is highlighted by the following scene in which Wheaton is told that his argument “may be the only meaningful exposure to God that they'll ever have.” This dialogue continues to highlight the main theme of faith and its importance in one’s life. Additionally, this scene seems to be reminding Christian viewers that sharing their beliefs is an act of evangelism that they should take seriously.
The trailer uses dark, building instrumental music during the first half. A shift in tone occurs once Professor Radisson is shown asking, “Mr. Wheaton are you ready?”
Instantly, the music changes to the ‘theme song’ of the movie, God’s Not Dead by the
Newsboys. This tone shift suggests to the viewer that Wheaton will prevail in his attempt to prove God’s existence. Clips of the characters at a Newsboys concert are shown as well as cuts to highlight the actors. The trailer includes cuts telling the viewer that the film features Willie and Korie Robertson as well as the Newsboys. The fans of these celebrities could potentially encourage viewers to watch the film. Finally, the trailer ends with a heated scene in the classroom in which Josh passionately confronts the professor with the words, “Science supports his existence. Why do you hate God?” This ending scene emphasizes the film’s message of boldly standing up for one’s faith.
The trailer positions God’s Not Dead as pointedly Christian. It does this through the clear use of a non-Christian as the antagonist and a Christian as the protagonist of the
41 story. Additionally, the use of signifying in-group and out-group pronouns throughout the trailer lets the audience know that Christians are considered the in-group from the perspective of the makers. This repeated contrast between Christians and non-Christians highlights the cultural conflict that the film is trying to discuss. Including scenes with the
Newsboys and the Robertsons, a famous Christian band and a family whose brand is built around their Christian identity, also helps position the film as Christian. In regards to the cultural conflict, the trailer sends the message that Christians should stand up against non-Christians by declaring and defending their faith. This is shown through the classroom scene that takes up the majority of the trailer. These aspects of the trailer aid in communicating who the film is for as well as already revealing some of the specific messages that the film will provide about Christians and non-Christians.
Box office and response. The film received a high level of interest before the opening weekend. The trailer was viewed 4.8 million times, the film’s Facebook page generated 230,000 friends, and over 1,100 churches requested for group tickets to see the film (DiBiase). The opening weekend sales for God’s Not Dead were $9.2 million (The
Numbers). It was dubbed “the biggest surprise of the weekend” by Entertainment Weekly for opening at “number 4 with an inspirational $9.2 million from only 780 theaters — the best debut ever for a faith-based film in limited release” (Bahr). God’s Not Dead dropped to number five during its second week, but returned to number four the following week
(Smith). This “bounce back” is rare and showed a continued strong interest in the film
(Smith). The film grossed a total of $64.7 million at the box office. God’s Not Dead was awarded the GMA Dove Award for Inspirational Film of the Year (Koonse). The film was
2014's highest grossing independent film, and is currently ranked eighth in “highest grossing Christian films'' with Christian films being defined as “films with overt
42 Christian themes explicitly promoting The Gospel or an otherwise Christian message and targeted primarily at Evangelical Christian audiences” (Graham and Box Office Mojo).
These numbers indicate that God’s Not Dead attained its goal of presenting Christian lessons to a large number of people.
God’s Not Dead “burst” Pure Flix Entertainment onto the “theatrical mainstage
and launched a transformational movement in Christian entertainment” (Pure Flix). They
attribute the success of God’s Not Dead to “God showing up big” (Pure Flix). While the
film did not fare well in critic reviews, it did well enough with Christian audiences to turn
into a franchise (IDMB). Since the release of God’s Not Dead, two additional movies
have been made, Pure Flix launched a streaming entertainment platform and produced
several other faith-based films that have been intermittently successful (McLenithan and
PureFlix). These accomplishments suggest that Pure Flix has had a large impact on the
entertainment industry and culture. The extent to which God’s Not Dead and Pure Flix transformed culture, as well as the extent to which they accomplished their other goals of empowering Christians and evangelizing to non-Christians will be explored in the audience response section of this chapter.
Silence
Background and purpose of the film. This film has less of an evangelical and teaching purpose than God’s Not Dead, instead Silence aims to make viewers
contemplate their life and their faith (Cabin). From a young age, after viewing clichés in
Christian media, director Martin Scorsese has wished to “take the biblical epic to another
place” (Goldberg). Moreover, he wants to “make God accessible to people in the
audience who feel alienated from the churches” (Elie). Scorsese is a highly nominated
43 and awarded director; he is widely regarded as “the most significant American director of the late 20th and early 21st centuries” (Britannica). Before directing Silence , Scorsese
had directed 23 films including Raging Bull, The Departed, Shutter Island , Hugo, and
Goodfellas. He is known for exploring themes such as guilt and redemption, faith, crime,
and identity (Bramesco).
The purpose of Silence is to present and evoke an exploration of faith. When
asked how he would describe Silence to Pope Francis, Scorsese replied that he has tried
to discover “how to live life — tried to explore what our existence really is and the
meaning of it” (Goldberg). He goes on to state that Silence is about “the necessity of
belief fighting the voice of experience,” (Goldberg). The film asks viewers “how much
can you take before you crack? How could you judge another person for falling out of
grace, when you haven’t been put to the test?” (Pinkerton). Moreover, Scorsese hopes to
bring discussion and debate about who is more Christ-like: one who is weak and
humiliated or one who is strong in faith? (Goldberg). Scorsese describes the heart of
Silence as “the depth of faith and the struggle for faith,” and the lesson told through the
story to be that the “the very essence of faith” has to be found in your “relationship with
Jesus and yourself” (Cabin). In this lens, faith is complex and should be considered by
the individual and God, and it is important that filmmakers ask questions of the audience
about their faith.
Scorsese spent 27 years trying to make Silence, which included years of
“rewrites, multiple lawsuits, and talent that dropped out,” but he felt it was a story that
needed to be shared with a culture that “lacks faith in religion” (Beyl). Scorsese said the
project was made “all in God’s good time,” and that, while he didn’t know why, “it had to
be this way” (Cabin). Scorsese’s attachment to the film and persistence in its making
44 highlights its significance to him and to future viewers. The production company for
Silence was a partnership of Fábrica de Cine and SharpSword Films (Goldberg). The budget was $46.5 million, $24.5 million of which Scorsese says went to lawyers and lawsuits (Pinkerton). This is significantly higher than the budget of God’s Not Dead, but also significantly lower than the budget of other Scorsese films. This lower budget is due to the fact that the film was an independent passion project of his instead of a studio film
(Wakeman).
Marketing of the film. The marketing of Silence relied on the reputation of the
director and actors, and, in addition to the trailer, the promotional materials include
interviews with the director, the cinematographer, and the actors.
While it was known that the film was directed by Scorsese, which would bring a
certain level of interest, the film also had to compete against his complicated past with
Christian films. He directed The Last Temptation of Christ in 1988. The film, which
shows Jesus as a mortal with defects in virtue, was met with protests on the day of its
release and some Christians calling the movie sacrilegious (Bramesco). Scorsese made
sure to distinguish Silence as “something different” from his past film since it is closer to the “very essence and heart of Christianity” and “the common nature of what it is to be a human being” (Ryan). With this statement, he was able to gain back some Christian audience members who had previously disowned him and also engage a non-Christian audience.
The quality of Silence as a film, which was highlighted through interviews with
the director and cinematographer, helped distinguish it from other faith-based films
during that time period and oriented itself to a more diverse audience. Scorsese spoke
about how he directed the film without a fee and how multiple actors worked for a greatly
45 reduced salary. This is rare and signified to viewers the importance of the film and its message (Goldberg). The cinematographer, Rodrigo Prieto, described the beauty of the film to news outlets, explaining that the simple cinematic language used in the film worked to make it feel like you were there, struggling with the priests instead of romanticizing their journey (James). One of Scorsese’s goals is to make Christian films for those who feel alienated at church. The film set itself apart from a typical faith-based production, and it received admiration from well-known industry workers. These decisions helped garner an audience base beyond that of the usual faith-based demographic.
The build up to the film’s release included multiple interviews with famous cast members on platforms such as The New York Times , The Late Show with Stephen Colbert, and Vogue to highlight the films purpose of exploring one’s faith. Actors Andrew
Garfield and Adam Driver did the majority of the interview promotions. The interviews included the actors discussing the extreme measures they took to make the film. This included Driver and Garfield both losing around 40 pounds, Garfield completing the spiritual exercises of St. Ignatius of Loyola (which included a week of silence), and actor
Liam Neeson having to endure being “suspended upside down by ropes over a pit of excreta” for extended periods of time (Powers and Merry). These extremes suggested not only a high level of commitment by the actors, but also highlighted the struggles that would be faced in the film. Garfield shared that he felt “called to work with one of the great directors, and called to this role as something I had to pursue for my spiritual development” (qtd. in Goldberg). Garfield shared his challenges with faith and the personal spiritual exploration he undertook due to his role in Silence during multiple interviews, which worked to exemplify the purpose of the film. Driver aided in increasing
46 the relatability of the film by describing it as a “story of a crisis of faith” that everyone must go through (Goldberg). These interviews do not give definitive answers about faith, but instead emphasize the importance of reflecting on one’s faith. Overall, these interviews may have intrigued a wide range of viewers, demonstrating the significance of faith as something that is worth struggling with, questioning, and discussing.
The trailer for Silence communicates the main themes of faith, doubt, and
suffering. A main symbol shown throughout the trailer is the cross. It is depicted in many
different forms: wooden crosses, the crossing of the chest action, a homemade cross
made out of rope, and large crosses from which people are hung. The cross acts as a
symbol of faith in God as well as a reminder of Christian suffering, both of which are
main themes in Silence. The trailer does not seem to be heavily directed to a particular
audience. However, the trailer clearly shows that the movie will have heavy religious
themes, which could persuade or dissuade some viewers from watching the film.
The trailer starts with a back shot of Rodrigues (Andrew Garfield) in Japan with
his voice overlaid saying, “Our Lord said go ye into the whole world and preach the
gospel into every living creature.” By referencing scripture, this automatically sets up that
the film will be about Christianity, more specifically about missionaries. It then has a few
establishing shots of Japanese landscape. The driving problem of the film is introduced:
Father Ferreira (Liam Neeson) has publicly denounced God while on mission in Japan
and Rodrigues and Garupe (Adam Driver) must go find him. The trailer cuts to tell the
audience that the film is directed by “Academy Award Winning Director Martin
Scorsese.” This automatically gives the film credibility to viewers, and possibly
convinces some people to see the movie. Viewers are told the mission will be dangerous,
which adds excitement to the storyline. The trailer then cuts to clips that showcase
47 Andrew Garfield and Adam Driver. This works in the same way as the cut to showcase
Scorsese as the director, to enhance the credibility of the film given its all-star cast and crew.
Instrumental music builds throughout the trailer as viewers see the original driving problem begin to evolve into more specific details. The music cuts for a moment of calm as waves crash against the shore where three Japanese men are being hung on a cross. When the instrumental music resumes, it is with an increased intensity that creates momentum and anxiety has the scenes quickly cut from one to another. Viewers see a
Japanese man say “The price for your glory is their suffering.” The scenes that follow are highly emotional and/or include violence. The theme of suffering is underscored in the images. Further, these scenes give the viewer a preview of the larger questions that will be presented in the movie as the initial driving problem evolves into larger issues. The trailer ends with a close-up of Rodrigues laying down, looking distraught as his voiceover says “I pray, but I’m lost. Am I just praying to silence?” This final question, in contrast to the multiple shots of the cross seen throughout the trailer, highlights the purpose of film: to explore the struggle of faith.
After watching the trailer, viewers will already be starting to ask questions of their own faith in response to the last question posed by Rodrigues. Moreover, they will be primed to enter into an exploration of faith while engaging the film. This aids in accomplishing the goals of the Silence, as the film is a more general question than it is a
declarative statement. It is not necessarily about evangelization or convincing the
audience of a belief. Instead, Silence is asking the audience about the struggle of faith and
of believing in God through a depiction of those struggles.
48 Box office and Response. Before the official release of Silence, it was screened in
Rome at the Vatican for several hundred Jesuits (Goldberg). The film was also screened at Cannes, receiving a “wide release by Paramount timed for prime awards season visibility” (Beyl). These two releases helped set up the credibility of the film for its two target audiences: religious moviegoers and cinephiles (Fritz). While both target audiences were in attendance for the film, Silence had a poor box office performance. The official opening weekend sales, which included 747 theatres, were $2.3 million, making Silence number 15 at the box office (The Numbers). The film grossed a total of $23.8 million
(The Numbers). The poor box office performance of the film has been attributed to a crowded marketplace, a long run time (three hours), a small theatre release, and a
“demanding topic” (McClintock). In other words, the film was long and asked for deep thought and reflection of its audience instead of presenting viewers with an enjoyable escapist past-time.
The film received multiple nominations and awards, and was praised for its compelling questions about faith. It made numerous top ten lists such as Rolling Stone,
The A.V. Club, and Time . It was nominated for Best Director and Best Picture by the
AARP Annual Movies for Grownups Awards, Best Cinematography by the Academy
Awards, and Best Adapted Screenplay by the Chicago Film Critics Association as well as multiple other nominations (IMDB). Silence was selected as the Best Adapted Screenplay by the National Board of Review (IMDB). These nominations and awards confirm the quality of the film. In this sense, Silence fulfilled Scorsese’s wish of elevating the
Christian movie experience. Reviews of the film are mixed: some love the message, some call it anti-Christian, and some just find it boring (Fritz). But all of these reviews are conversation starters about faith, and they require the writer to examine and reflect on
49 their own faith, which is what Silence set out to do. The success of Silence in reaching a wider target audience than most Christian films, and the extent to which the film accomplished its purpose of igniting conversations and dwellings on faith will be discussed further in the audience response section of this chapter.
In this section, I analyzed the production and marketing of each film. The stated purposes of each film and the messages the films intended to communicate to viewers were connected to their production and marketing efforts. Additionally, the purposes and messages that these paratexts had within themselves, in distinction from the films, were discussed.
The Films
This section will study the films themselves via textual analysis. Key elements of the film will be examined and discussed. This includes character development (in particular the development of Christian characters versus non-Christian characters) and storytelling, as well as symbols, representations, and main themes communicated. The discussion will be centered on how each of these elements communicate messages to the audience and further accomplish the intended purpose of each film as discussed in the last section.
God’s Not Dead
Storytelling and character development. The film God’s Not Dead follows multiple storylines that all connect at the end. Throughout the film, we see multiple
Christian and non-Christian characters, some dynamic and some static. The stylistic choice of having many storylines and characters, as well as the development of those characters serve to further the intended purpose of the film. Moreover, the purpose is to
50 educate the audience on Christian teachings, evangelize to non-Christians and call for
Christians to evangelize, and transform a culture for Christ (Pure Flix).
The storytelling of the film often nods to a presumed culture war, and uses a wide range of situations that involve a clash between a Christian and a non-Christian.
Significantly, the non-Christian continually acts as the oppressor. God’s Not Dead follows
multiple storylines that intersect throughout the film and end together at a Newsboys
concert. The main plot involves a Christian student (Josh Wheaton) debating the
existence of God with his atheist professor (Professor Radisson). Some of the smaller plot
lines include a toxic relationship, a young woman from a Muslim family who is secretly a
Christian, car trouble, and a cancer diagnosis. While the many characters and plot lines
hinder the audience from deeply connecting with any of the characters, it does expose
them to a variety of narratives. Moreover, by focusing on a wide and shallow form of
storytelling, there is a greater chance that an audience member resonates with at least one
plot line or character. This aligns with Pure Flix’s understanding of faith-based films as
reflections of the every-day lives of Christians.
In addition to relating with their audience, Pure Flix wants to teach them. Each
narrative depicts an interaction with a Christian and non-Christian that results in either
the Christian growing in faith or the non-Christian beginning a journey to Christ. The
narratives show Christians as an oppressed minority and non-Christians as either
aggressively anti-Christian or ignorant of Christianity. The lens of Christians as
oppressed by non-Christians is one way in which God’s Not Dead’s characterizations
seem to conflict with its goal of evangelism, especially considering the campaign guide
encouraged Christians to bring non-Christians to see the film. The impact of
51 representations within the film will be discussed later in this section, but the narratives suggest that the makers of God’s Not Dead place a larger emphasis on acknowledging a cultural conflict between Christians and non-Christians, than directly evangelizing to non-Christians.
Through the decisions and actions of the Christian characters, the Christian audience learns how they should act as well as how they should interact with non-Christians. By seeing the result of the interactions being a non-Christian beginning to follow Christ, the Christian audience may be emboldened to do the same in their lives, which furthers the goal of encouraging evangelism. The film’s main plot involves defending God in an academic setting, but the other plot lines focus on other reasons why people believe in God. And while the film does include three classroom scenes in which the professor and student debate topics such as evolution and the Big Bang Theory, the debate ends not with Josh proving the existence of God, but instead with him disproving
Professor Radisson’s disbelief in God. Nevertheless, the class unanimously votes that
“God is alive.” This suggests to audience members that scientific facts or logic are not necessary tools of evangelism, but rather emotion and passion are all that is needed to evangelize. Overall, the storytelling within God’s Not Dead acts as a guide for the
Christian audience through which they are encouraged to defend their faith, stand up
against oppressors, and evangelize to non-Christians.
Due to the film’s many plot lines, God’s Not Dead has many characters, all of
whom are not extensively developed. While the transformations within the characters are
sudden, they exemplify a shift deemed desirable by the film. Christians grow stronger in
their faith, and non-Christians begin to find faith.
52 The main protagonist (Josh Wheaton) and antagonist (Professor Radisson) of the film embody the cardinal messages given to the audience about Christians and non-Christians. Josh is portrayed as an ideal Christian: he stands up for God, evangelizing to his peers and professor, and holds tightly to his faith. Josh, after an initial hiccup of doubt about whether or not to argue for the existence of God, is depicted as steadfast in his convictions. The consequences of his decision include losing his girlfriend and committing “academic suicide,” but he states “God wants someone to defend Him” and that he has chosen to do so because he “sees God as a friend.” Josh’s commitment to Christ in the face of outside pressures is a model for the Christian audience. They should put the glory of God (exhibited through outward declarations of faith) before worldly relationships and values such as friends, family, and grades. In the end, Josh prevails. He convinces his peers that God is not dead, and he is rewarded by the
Newsboys dedicating a song to him at the end of the movie with the words, “For the young man who took up the gauntlet to defend God’s honor, I can only imagine the smile you put on God’s face.” This final praise shows the audience that they will be rewarded for defending their faith.
The character of Professor Radisson has more of an evolution than Josh, and, as the main antagonist, sends the audience messages about non-Christians. Professor
Radisson, who is initially portrayed as an atheist due to logic and academic reasons, gradually unravels. As the film progresses, Radisson becomes more emotional and irate.
The audience learns that he is not actually an atheist, but instead hates God because his childhood prayers for the healing of his sick mother went unanswered. After being confronted by Josh and re-reading old letters from his mother, Professor Radisson is hit
53 by a car on his way to the Newsboys concert. He then expresses his belief in God before dying. As his character is made out to be the most against God, his conversion suggests that no one is beyond conviction and salvation. Additionally, it suggests to Christians that there may be an underlying emotional reason that people are atheist, or even that atheists aren’t really atheist at the core, which impacts the way they should approach evangelization. This frame that people actually hate God instead of not believing in Him strengthens the belief that there is a culture war between Christians and non-Christians that is emotionally fueled.
The distinction between a non-Christian not believing in God and hating God is important as it changes the Christian reaction. Christians can live peacefully with non-Christians who do not believe in God, but they cannot live peacefully in a culture that hates God and wants to attack Christians. Therefore, the frame of non-Christians being actively and personally against Christians and God furthers the film’s message that a transformation of culture is necessary in order to bring peace. If there were no conflict between Christians and non-Christians, then the call for Christians to transform culture would not feel as urgent.
The other Christian and non-Christian characters supplement the film's understanding of faith and disbelief. Within the subplots of the film we see multiple
Christian and non-Christian characters. Most characters grow in their faith, but a couple remain static. The Christian characters include Mina, Reverend Dave and Reverend Jude,
Ayisha, and Kara. We first see Mina as a meek Christian who is not living by her faith, and is struggling with her mother’s Alzheimer's diagnosis. Toward the end of the film, she dumps her belittling, non-Christian boyfriend (Professor Radisson) and finds her
54 worthiness in Christ. Reverend Dave has his faith rejuvenated by helping other characters in the film. Additionally, Reverend Jude continually reminds him — and the audience — that “God is good all the time, and all the time, God is good.” Ayisha, who was raised
Muslim, is shunned by her family, but does not lose her faith or hope. These characters all go through trials or are having issues in their lives. While those issues are not necessarily solved, each character finds strength in God. This sends the message to audience members that God will be present through trials, and that trials are not an indication of God’s absence. Moreover, the audience should find comfort in the journeys of these characters as they signify that faith can prevail under any conditions.
The character development of non-Christian characters follows the same pattern with two growing in their faith and one remaining static. Amy, who outwardly expresses her dislike of Christians, turns to God after being diagnosed with cancer. Martin, a college student originally from China, begins with little knowledge of Christianity.
Throughout the film, he is convinced by Josh’s arguments and converts to Christianity despite his father’s disapproval. The development of these two non-Christian characters exemplify the change the film hopes to enact. Moreover, these characters show that through meaningful, positive interactions with Christians and learning about Christianity, more people will come to know God. This continues to encourage Christians to evangelize.
The characters of Ayisha and Martin define the film’s understanding of God and faith. God’s Not Dead situates faith to only truly be faith if it is Christian. The film draws
distinctions between the Muslim faith and the Christian faith when Ayisha is told by her
father that they cannot be “a part of their [Christian’s] world.” She is told by a student
55 that she shouldn’t have to wear a hijab. Then, the film portrays the family to be intolerant of Ayisha’s Christian faith, hitting her and kicking her out. These scenes work to depict a
“right” and “wrong” faith, to “Other” Muslims by showing them as violent and harsh in contrast to caring Christians who take Ayisha in, and to increase tensions and division between the two faiths in American culture. The Chinese character of Martin emphasizes the idea that the faith of Others is bad. While Martin himself is not outwardly depicted as a Buddhist, this film continually shows the prominent faith traditions of different cultures to be illegitimate and godless. This narrow lens of faith can create animosity or exclusivity between different cultures and faith traditions. God’s Not Dead pits
Christianity against other religions and defines American Christianity as the faith that
must be shared by all. Therefore, the film encourages not just evangelization to atheists,
but even to those who have any faith that is not that of protestant Christianity.
There are two characters within the subplots that do not grow in faith. One
Christian character, Kara, and one non-Christian character, Marc, are static throughout
the film. Kara is negatively characterized for not wanting Josh to stand up for his faith.
While she does not speak against God, she urges for Josh to step down and keep his faith
to himself. Kara is not portrayed as out rightly evil, but she is not likeable. She represents
everything the film is telling Christian not to be: self-interested and submissive to the
world. From the lens of a cultural war between Christians and non-Christians, Kara is not
a fighter. Her unlikeable characterization suggests to audiences that they should not act
like her, but instead follow the example of other Christians in the film. Additionally, by
using her character as an example of how a Christian should not act, the film presents a
version of faith that is very forward. In God’s Not Dead, faith cannot just be personal.
56 Christians should not keep their faith to themselves, but instead they should show their commitment outwardly and even aggressively. Through this lens, Christian commitment must include public, visible proclamation.
Similar to the negative depiction of Kara, Marc is characterized as exorbitantly selfish and rude. He breaks up with Amy when he finds out she has cancer, and he doesn’t care about his mother who has Alzheimer's. Marc does not appear to be interested in changing. During a scene where he is taunting his mother, she has a moment of clarity and tells him that, “Sometimes the devil lets people live a life free of trouble cause he doesn't want them turning to God...but one day the jail door will slam shut, and it will be too late.” This statement insinuates that while he might be successful in a worldly sense, he will pay for his sins soon enough. This scene seems to be a warning for the non-Christian audience members. It may also serve to put a sense of urgency in evangelism for the Christian audience.
The use of character development within God’s Not Dead furthers its evangelical and transformational efforts as well as demonstrates particular theological and ideological positions. Audience members see ways to strengthen their own faith as well as how to evangelize to non-Christians. These characters give a Christian audience reassurance that
God is present through trials, that they will be rewarded for their faithfulness (with faithfulness presented as outward declaration), and that no one is unreachable in terms of evangelization. Additionally, through the positive or negative characterization of a character, the audience is given a particular understanding of what constitutes good and bad faith. Characters and behaviors that are labeled good strengthen the Christian
57 position within culture above atheists and all other faiths, thus promoting Pure Flix’s transformational goal.
Symbols and representations. While this film does not utilize symbols to communicate its message to audiences, the representations present in the film do impact the way in which the audience understands the film, themselves, and others.
As previously stated, God’s Not Dead does not rely heavily on symbolism. When
considering the lofty goals of the film, and the importance of the goals to the film’s
makers, symbols would not be beneficial. Moreover, symbols could leave the messages
of the film up to interpretation by the audience. Since the film intends to inform
audiences on specific theological messages to the audience, clear and precise forms of
communication would be preferable to symbolism.
The representations within God’s Not Dead highlight the maker’s understanding of a culture war, and work to elevate the Christian identity while lowering the position of non-Christians. In the film, Christians are represented as passionate, caring, and moral.
They are also portrayed as an oppressed minority that is frequently attacked or belittled by society. This sets up the need for a transformation of culture. The non-Christians within the film are represented through stereotypical characters that are negatively portrayed. These stereotypes include a liberal, vegetarian blogger who sees Christians as offensive and atheist academics who look down on religion. Additionally, the different cultures presented in the film are shown as Others who are dissimilar to American
Christians. In addition to these negative stereotypes, the film’s general depiction of non-Christian characters is unflattering. They portray them as personally motivated, immoral, and/or ignorant. This depiction may be offensive and could result in the
58 alienation of a non-Christian audience member. Additionally, this representation could cause Christians to feel negatively toward non-Christians.
Overall, this representation of non-Christians promotes a transformation of culture by creating a frame in which non-Christians, who have been previously defined as the majority, are not good people. Therefore, Christians, who have been depicted as positive and moral, should become more influential in culture in order to better it. Additionally,
Christians should outwardly declare their beliefs to show their commitment to Christ. In this film, Christians should stand up for God by taking on professors and atheists as well as evangelizing to other faith groups.
Main themes. The main themes present in God’s Not Dead are that you must
stand up for your beliefs, and that God is present during trials. Both of these themes work
to strengthen the faith of the audience as well as rally them for the God’s Not Dead
movement. We see many characters embrace the theme of standing up for your beliefs
throughout the film: Josh, Ayisha, Mina, and Martin. While it is not easy for any of them,
each character displays faith and courage. These characters are celebrated and told that
God will “honor the risks taken for Him.” The film gives the audience an opportunity to
invoke this mindset when asking audience members to text ten people that “God’s Not
Dead,” which the film describes as an act of “telling Jesus that you love Him.” Through
the lens of film’s makers, this act accomplishes the goal of evangelism and primes the
audience to participate in a transformational movement of culture.
These characters, as well as many others characters within the film, are going
through trials. The film explains the presence of trials in a few different ways. Josh
believes they happen because of freewill. The woman with Alzheimer’s suggests the
59 absence of trials may be the devils way of keeping someone from God. Regardless of the reason, the film presents the message that no matter what “God is good all the time,” and that He alone will strengthen Christians during inevitable trials. One overarching trial that is communicated by the film is the trial of oppression. The Christian characters within must defend themselves against society, and the ending of the film lists legal cases where college students and college ministries were “condemned for their faith.” This furthers the Christian vs. non-Christian dynamic present in the film by showing examples of its presence as an ongoing threat.
These themes stimulate action for the film’s movement to transform culture. They have depicted a conflict between Christians and non-Christians, communicated that
Christians should stand up for their beliefs and will be rewarded for doing so, and have given Christians clear direction on how to begin evangelizing and transforming culture.
Whether or not the audience is responsive to the film’s messages will be further discussed in a subsequent section, which covers audience and critic response to both films.
Silence
Storytelling and character development. The film Silence follows the journey of a Jesuit missionary to Japan, a country depicted as heavily persecuting Christians at the time. Throughout the film, voiceovers present thoughts and questions for the audience to contemplate. The characters within the film are complex, each revealing different understandings of faith. The pilgrimage presentation of the film as well as the personal struggles of the characters highlight the purpose of the film. This purpose is to present and evoke an exploration of faith (Goldberg).
60 The storytelling of Silence reflects the desire to confront the audience with the complexities of faith and doubt. The film itself is slow. It includes long, establishing shots of the Japanese scenery and seems to linger in multiple scenes. Additionally, the film includes scenes of persecution that are difficult to watch. Overall, the film requires patience and attention from the audience. This matches the film's understanding of itself as a journey. The film uses the metaphor of journey to affirm that the exploration of faith is not simple or quickly discovered. While the length and tempo of the film may bore some audience members, it emphasizes the consideration that the filmmakers wish to evoke in some audience members.
The film utilizes voiceovers to further present the character’s exploration of faith.
Throughout the film, the audience learns the inner thoughts of Father Rodrigues through voiceovers. Some thoughts include, “I found strength in the promise that all their suffering would not end in nothingness but salvation,” “why must their trials be so terrible, and my answers so weak,” and “I fear, Jesus, that I may not be worthy of you.”
The audience gets to hear the thoughts of the priest become more doubtful. This conveys to the audience that even the most devout may have moments of doubt. The questions presented in these voiceovers also invite the audience to ask and answer them for themselves. Toward the end of the film, the voiceovers include the voice of God. In these, the audience hears God say “I understand your pain. I was born into this world to share men’s pain. I carried this cross to take men’s pain away. Your life is with me now,” and “I suffered beside you. I was never silent.” These statements seem to answer some of the questions put forth by Rodrigues, but it is left up to the audience to determine if they are enough for their individual doubts.
61 The character development present within Silence presents the audience with different responses to faith. The film intimately follows the journey of Rodrigues as his experiences in Japan cause him to question his faith and role as a priest. Initially,
Rodrigues sees himself as an imitation of Christ. Shots show the face of Rodrigues blending into the face of Jesus. He understands his duty to the new Christians in Japan to be that of a savior. Further, he is not afraid of becoming a martyr because he sees it as the ultimate act of faith. However, throughout the film, he begins to doubt himself and God.
He questions why the Japanese Christians must suffer so much, and why he feels as though he cannot hear God. He even tells the Japanese Christians to trample on the Fumie
(a symbol of God) in order to avoid torture. However, when burdened with either denouncing God by stepping on the Fumie or allowing the Japanese Christians be tortured and killed, Rodrigues struggles with his own pride. As a priest and a faithful
Christian, he cannot bring himself to symbolically denounce God. But, he finally hears
God tell him to step on the Fumie. After this scene, Rodrigues no longer shows any outward signs of faith. However, we hear him think, “but even if God had been silent my whole life to this very day everything I do, everything I’ve done speaks of him. It was in the silence that I heard you [God’s] voice.” This seems to communicate to the audience that the core of faith is believing even in the silence. Additionally, the film ends with
Rodrigues’ death where a small cross is hidden in his hands. This indicates that, while he had not been outwardly showing his faith for years, Rodrigues still believed in God. This understanding of faith differs from that of God’s Not Dead, as it is shown as a personal journey and conviction that may be enacted without explicit invocation.
62 The characters of Garupe and Kichijiro offer contrasting depictions of faithful
Christians. Garupe is a priest who journeys with Rodrigues to Japan. He represents a traditional understanding of how faith should be expressed. He clings tightly to his faith, and never wavers in the face of suffering. He teaches the Japanese Christians that they also cannot waver in outward expressions of faith. He warns them against the direction of
Rodrigues, saying that they cannot under any circumstance step on the Fumie. While his faith is strong, he seems to lack empathy for the suffering of the Japanese Christians.
Garupe is eventually martyred for his faith. Garupe is not praised in his characterization, which communicates that his unshakeable faith is not necessarily the “right” way to have faith.
If Rodrigues sees himself as Christ, then the character of Kichijiro would be his
Judas. Throughout the film, Kichijiro outwardly denies his faith many times and betrays
Rodrigues in order to avoid persecution. Kichijiro, in his failures, is a more relatable character than Garupe. We see in him the weakness of humans who are unable to escape sin. But, he always comes back to the priests asking for forgiveness and confession.
Though he is received negatively by the priests throughout the film, in the end he is the one that stands by Rodrigues after he has apostatized. Additionally, Kichijiro is eventually outed as a Christian and taken away by persecutors. His character serves to challenge the idea that faith always makes someone bold and strong. Overall, Garupe and
Kichijiro provide the audience with different representations of faithful Christians.
Further, these characters are a reminder that the extent of one’s faith is not always able to be determined from outward actions.
63 The main antagonist of the film, the Inquisitor Inoue, highlights the film's hesitancy to present dichotomies of bad and good. The Christians in Silence suffer tremendous amounts of torture such as being set on fire, hung on crosses, and beheaded.
However, the film does not depict the Inquisitor, who is in control of the persecution, as purely evil. Instead, it uses the character to highlight cultural differences. Silence does not allow the audience to make blanket conclusions about non-Christians within the film. The film uses the Inquisitor to bring up bigger questions about the nature of missions and culture, which will be further explored in the section on representations within the film.
Many times throughout the film, the Inquisitor states that he does not hate Christianity, but cannot have it in Japan because it is “dangerous” and “cannot take root.” The persecuted Christians are told that they are good people, but are embracing the “forbidden faith,” and must be punished to maintain order. Through this lens, faith is seen as a powerful force.
The storytelling and character development of Silence lends itself to
contemplation. The film does not give direct answers, but instead presents the audience
with various depictions and understandings of faith. The characters are not marked as
either good or bad, but encompass a mixture of virtues and vices. Overall, the open ended
presentation of messages within the film works to further the film's purpose of evoking
an exploration of faith.
Symbols and representations. Various symbols and representations are used
throughout the film to communicate the complexity of faith. The representations of
Christians and non-Christians within the film provide the audience with different issues
that interact and impact one’s outward presentation of their faith.
64 Two symbols, the cross and the Fumie, represent an outward declaration and denouncement of faith. The film highlights the symbol of the cross in various forms. In most Christian circles, the cross is a symbol of one’s faith as it is representative of the cross Jesus was crucified on to save the lives of Christians. Rodrigues hands out crosses and other symbols of Christianity to the Japanese Christians with a voiceover that says,
“They are desperate for tangible signs of faith. I worry they value these more than faith itself, but how could I deny them.” This inward thought causes the audience to reflect on what determines one’s faith. Further, the opposite symbol in the movie, the act of stepping on the Fumie, asks the same question. When told to either step on the Fumie or endure torture, the Japanese officials tell the Christians that “it’s just a formality.” This means they are not asking them to personally lose their faith, just to outwardly denounce it. However, that outward action is seen as a form of weakness that is worse than death.
The film is asking the audience to weigh the significance of a representative act, whether that be wearing a cross necklace or stepping on an image of God.
Silence does not represent Christians and non-Christians in a black or white fashion, but instead shows the humanness of both. Christians are represented in various variations from faithful to apostatized, and from biblically educated missionaries to brand new converts. Regardless of their nationality or even the duration of their faith, each group is shown to have faults. This film does not provide clear answers as to how a
Christian should act, instead it leaves the Christian audience members feeling unsettled as they are expected to examine their own faults.
Main themes. The film deals with complex themes such as faith and doubt, suffering, personal versus outward faith, and differences between cultures. The film
65 depicts doubt not as the opposite of faith, but almost as a necessity for faith. Or, at least a very common partner to faith. This communicates to audience members that doubt does not indicate a lack of faith. The theme of suffering, specifically suffering within the context of the Christian faith is questioned. The film centers around the question of why there is suffering. The film acknowledges the Christian belief that it is valiant to suffer for one’s faith. Martyrdom is described as “the seed of the church,” and the Inquisitor wants the priests to apostatize instead of die because he realizes that “if they can die for their God, it only makes them stronger.” However, the film does not glorify the deaths of the Christians. It balances these statements by depicting how suffering can shake the faith of a priest. Additionally, while the film ends with the voice of God saying He was always there through the suffering, Rodrigues is told by Father Ferriera to “pray with your eyes open,” when it comes to praying about suffering. This reluctance to make a firm statement on suffering aligns with the film’s intention to simply initiate a conversation, not direct the audience’s theological point of view.
The film furthers this intention of evoking a conversation through its depictions of commitment to one’s faith. Rodrigues’ resistance to step on the Fumie and save the lives of many Japanese Christians is due to his understanding that one’s outward actions should match their inward faith. Father Ferriera, who had been put in the same situation, challenges Rodrigues’ belief by telling him that “there is something more important than the judgement of the church,” and that “only our Lord can judge.” He also told him that stepping on the Fumie would be “the most painful act of love.” These statements situate faith as a personal conviction that can remain despite outward behaviors that contradict our general understanding of faithfulness.
66 Finally, the film highlights the difficulties of spreading the gospel in different cultures. The Christian missionaries are criticized by the Japanese officials for “teaching, but never learning.” Moreover, they try to teach Christianity, but learn nothing about the
Japanese culture in which they want it to flourish. Ferreira explains that the Japanese
Christians “only believed in a distortion of our religion,” because their culture does not allow them to “think beyond the physical world.” Additionally, the Inquisitor tries to convince Rodrigues that Christianity cannot grow in the “swamp” of Japan. This is refuted by Rodrigues who tries to explain that if Christianity is true, then it must be true everywhere — even Japan. This dialogue consists of heavy theological questions as well as questions about Christian communication and evangelization across cultures. The film does not appear to be disparaging the work of Christian missionaries, but it is asking
Christians to consider the implications regarding international missions.
Silence is a movie full of heavy themes that require the audience to examine their beliefs and faith. The film depicts different representations of Christians, all with their own individual strengths and struggles, allowing audience members to find themselves in the film no matter where they place themselves on the spectrum of faith. Instead of communicating specific messages to the audience, the film guides the viewer through a journey of self-reflection. Whether or not viewers were responsive to the questions posed by the film will be further discussed in the next section.
In this section, I examined components of the films God’s Not Dead and Silence .
The film's storytelling structures, character development, use of symbols and
representation, and main themes were discussed. Both films centered around the topic of
faith and what it looks like in a Christian context. Because the films had different
67 purposes, they differed in their messaging to and representations of Christians and non-Christians. Additionally, each understood the expression and commitment to one’s faith differently. God’s Not Dead positions outward declarations of faith as ideal, which is an idea that seems to be challenged in Silence .
Audience Reviews and Reception
This section will study the audience reviews and reception to the films. I will use
movie review websites such as Rotten Tomatoes, IMDB, and Metacritic as sources for
audience reviews given that the sites aggregate both professional and popular reviews. I
will also perform Lexis Nexis searches on terms such as [“God’s Not Dead” w/50 values]
to help populate newspaper and magazine articles to analyze for the decoded messages of
each film. The reviews will also be studied for critics’ understanding of Christian values
and identities, and the numerical scores given to each film by reviewers will be noted.
The study of these paratexts surrounding the film will help garner a larger understanding
of what messages audience members took away from the films, as well as the bigger
implications of those messages on the audience and larger society.
God’s Not Dead
Numerical scores. The numerical scores given to the film have been pulled from
Rotten Tomatoes, IMDB, and Metacritic. While the textual reviews of the film can reveal
what a viewer understood from the film, a numerical score still indicates a viewer’s
overall response to a film.
God’s Not Dead received polarizing numerical scores. On the Rotten Tomatoes
website, the audience score for God’s Not Dead was 75% and the critic score was 12%
68 (Rotten Tomatoes). The critic score would be expected to be lower due to the film’s small production budget and other technical inadequacies. IMDB gave the film an overall score of 4.7/10 with over 25,000 ratings (IMDB). While this is a low score, the website shows that 28.3% of the reviewers gave the film a 10/10 rating and 28.0% of the reviewers gave the film a 1/10 rating (IMDB). This indicates that reviewers either loved or hated the film with very few feeling neutral or middling toward God’s Not Dead. Metacritic shows a similar clustering of data with 150 negative reviews, 120 positive reviews, and only 24 mixed reviews (Metacritic). The overall scores given by Metacritic include a 3.4/10 user score and a 16/100 critic “metascore” (Metacritic). These numerical scores suggest that the film elicited a passionate, often polarized, reaction from audience members.
Popular film reviews. Popular film reviews were sourced from Rotten Tomatoes,
IMDB, Metacritic, and various blogs and websites. These reviews were broken down into the categories of negative, positive, or neutral. These categorizations were determined either by the numerical score they gave the film or by weighing the praises, critiques, and overall recommendation given by the review. As suggested by the numerical data, most reviews were either strongly positive or negative.
The positive reviews of God’s Not Dead emphasize the film’s relevance for
Christians and support the film’s understanding of a culture war. Many reviewers commented that the film was an “inspirational story” about faith and having the courage to stand up for God (Josiepie). Other takeaways messages from the film included sovereignty of God and an urgency for evangelization and salvation. Some reviews included statements such as the film is about “seeing the emotion surrounding religion and how much it affects everyone,” depicting how “those who appear to deserve grace
69 the least from us are the ones who need it most,” and making it clear “there is an urgent need for everyone to trust in Him to be saved, while touching on the danger that is waiting in eternity for those who do not” (Dave; Scott; Stevens). These understandings of the film’s message are in line with the film’s intended message to stand up for one’s beliefs and purpose of encouraging evangelization. Although one of the film’s main plots included defending God through scientific and logical arguments, and the makers of the film included many apologetic materials to supplement the film, the viewers seem to understand that emotional appeals are a better tactic for proving the existence of God.
These reviews indicate that while some of the tools for evangelization may not have been decoded by the broader audience, the general theme of evangelization and standing up for your faith seems to have resonated with them.
The message that a cultural war between Christians and non-Christians exists was understood and affirmed by many positive reviews. Many reviewers believed the film to be an accurate portrayal of the “cultural state of the U.S.A” in which Christians are
“marginalized” (Rand D). Some aspects of the culture war that were discussed in reviews included the “anti-faith bias in education” and the “snide” ways the media acts toward
Christians (Scott; Desertcat). Additionally, one comment commended the film for
“presenting real life issues” and an accurate portrayal of atheists, who are “not simply content with their own belief in the nonexistence of God but who frequently elevate themselves above others – often using scare tactics, demeaning language, and any other harsh means necessary – to try to make as many others as possible join them in their campaign against God” (Stevens). This reviewer sees atheists as being perpetrators who are aggressively anti-Christian. Further, this view vilifies atheists and positions them as
70 people from which Christians need to protect themselves. From these perspectives, the film served as a “warning” and “wake up call” for Christians that they must boldly defend their faith and fight in the culture war.
Further, this idea of a culture war shaped the way positive reviewers understood negative reviews of the film. Some reviewers that gave the film a high rating stated that the negative reviews of the film were due to “critics who hate Christianity” and “atheist liberals” who “had made up their minds about it before it was even released” (Nordic W).
Because the film positions itself as a tool for Christians in the culture war, the negative reviews of the film are seen as attacks on Christians. Even Christians who did not like the film were painted as the enemy with reviewers claiming to be “ashamed” of them for having “a weak faith in Christ” (MLAstudioproduction). The culture war presented by the film and understood by the audience lends itself to a distrust and fear of differing points of view by creating an “us versus them” dynamic in which the “them” is anyone who is not a Christian, and “they” are characterized as hateful, aggressive, and pointedly anti-Christian.
The neutral reviews of God’s Not Dead praise the overall lesson and premise of
the film, but dislike the portrayals of Christians and non-Christians. Most of the neutral
reviews agreed on liking the film’s lesson of maintaining faith and praising God through
all hardships. However, the portrayals of non-Christians were deemed stereotypical and
the actions of Christians “uncharitable toward those with different beliefs” (Rice).
Because of these portrayals, many neutral reviews did not believe the film would be able
to start a productive dialogue between Christians and non-Christians. Some Christian
apologetics websites also had mixed feelings toward the film. While the film gave a good
71 message of standing up for God, these websites believed the arguments used within the film to defend the existence of God were weak (Patterson; Lyons and Butt). Overall, the neutral reviews of God’s Not Dead suggest that the representations used within the film
may have distracted from some positive messages within the film or may have created a
new message that could not be supported by some viewers.
The negative reviews of God’s Not Dead echoed the critiques of the neutral
reviews, but did not understand the message of the film to be the same as the neutral and
positive reviewers did. Some viewers understood the main message of the film to be that
everyone who is not Christian “is an enemy and is to be regarded in the worst manner
possible” (Never Felt Better). Additionally, the idea that non-Christians are secretly
jealous of Christians and should only turn to God so that He will “save you from
unhappiness” was repeated throughout the reviews (Never Felt Better; Rice; Lewis).
These reviews highlight a disconnect between the filmmakers’ encoded message of
standing up for your beliefs and some viewers' decoded message of “intolerance towards
non-believers and a celebration of their misfortunes” (Never Felt Better). One possible
implication of this disconnect is a negative understanding of Christians and Christianity
by those viewers. This is seen in some comments that describe the Christian faith as
“shallow,” “intolerant,” and “lacking compassion” (Sean). This negative understanding of
Christianity works against the stated purpose of the film by Pure Flix.
Unlike positive reviewers, negative reviewers did not think the film portrayed real
life situations or groups of people accurately. Some Christian reviewers were upset with
the way evangelism was presented in the film. These viewers understood evangelism in
God’s Not Dead to be “reduced to mass communication,” and “trumped-up
72 emotionalism” (Baggett). Through this lens, the Christian faith and evangelism are cheapened. Many reviewers also suggested the film was “Christian propaganda” that did not reflect interactions between Christians and non-Christians fairly, depicting the
Christians as “always right” and non-Christians as “hateful” (Lewis). The representation of non-Christians was highly criticized by reviewers with some stating that they served to
“fuel hatred and intolerance in America” (Alejandra J). This understanding could be due in part to the message of a culture war being received by an unintended audience. The filmmaker’s try to send a message for Christians to metaphorically take up the sword and fight for God, but this message only works for an audience that believes in the culture war presented by God’s Not Dead. Therefore, unlike some of the positive reviews that
agreed with the film's representation of a conflict between Christians and non-Christians,
many reviewers state that this messaging is overly aggressive and potentially harmful to
relations among Christians and non-Christians. The film also tries to position itself as an
evangelical tool, which does not seem to be successful based on the fact that many
negative responses to the film were from non-Christians. Instead of improving the image
of Christians to non-Christians, these reviews indicate the opposite occurred for many
non-Christian audience members. These negative reviews highlight a clashing of those
two purposes in the decoding process of some audience members.
Overall, the popular film reviews of God’s Not Dead indicate the encoded
messages of the film were decoded in various ways, but largely understood the intended
messaging of cultural opposition and the need for evangelism. The message of a culture
war between Christians and non-Christians led to the film using extreme portrayals of
those two groups, with Christians mostly characterized in a positive light and
non-Christians mostly characterized in a negative light. Where the audience members
73 placed themselves within that culture war, and whether or not they agreed that there is a culture war, resulted in a particular understanding of the film and Christianity as a whole.
Professional critic film reviews. The professional critic reviews of God’s Not
Dead spend little time focusing on the production value of the film, stating that while it is not technically a well-made movie, it performed well at the box office (Pacatte; Propes).
This high box office performance, but mixed popular review, led to many critics discussing the controversial film. Most critic reviews agree with negative reviews by the popular audience, stating that the film used stereotypical and offensive representations of non-Christians while also cheapening the film’s intended core message.
The critic reviews predicted the film would be labeled a success only by
Christians. To these critics, the film is “propaganda” that would only be effective on
“those who already define themselves as true believers” (Farber). This narrow audience was made smaller by some critics, such the National Catholic Reporter, who stated that the film presented Christianity “almost completely from a white Protestant Christian perspective,” and delivered a message that “Protestant Christianity is the best” (Pacatte).
From this point of view, God’s Not Dead is not presenting Christianity, but specifically a white, American, evangelical protestant Christianity. This distinction may not be understood by non-Christian audiences, which could lead to one particular understanding or inflection of Christianity.
Critics disagreed on the main message of the film, but mostly all disliked the way it was presented. Some critics decoded the film’s main message to be that of standing up for your beliefs, but felt the film’s use of stereotypes took away the audiences’ focus from that message (Propes). Other reviews stated the film’s main message was not to stand up for your beliefs, but was instead to suggest that “the greatest persecution of all isn’t dying
74 for your beliefs, but being forced to accept that other people might believe something different” (VanDerWerff). This understanding of the film seems to be shaped by the film’s portrayal of non-Christians as unhappy and problem-ridden. Additionally, some critics found the way the film understood the beliefs of non-Christians to be problematic.
By focusing on the emotional side of evangelism, the film suggests “anyone who doubts the existence of God came to that conclusion because of a personal trauma” (Farber).
This narrow understanding of non-Christians could lead to their alienation or, at the very least, not to Pure Flix’s view of salvation.
Overall, the critic reviews of God’s Not Dead stressed the potential issues with the
way the film represented Christians, non-Christians, and their corresponding beliefs. For
this film in particular, the popular reviews are more relevant for analysis because this film
was not seeking critical acclaim but worldly transformation of everyday people and
culture. Therefore, the reactions of the popular audience are significant paratexts when
determining whether or not the film succeeded in its goals.
With that said, the film’s stated goals were to educate the audience on Christian
ideals and teachings, to evangelize to non-Christian audiences and call Christians to the
action of apologetic evangelization, and to transform the present culture. Some reviewers
of the film understood Christians as intolerant, while others understood Christians to be
brave. Moreover, some viewers were offended by the film, and some were inspired.
Many non-Christians (as proclaimed in their reviews) felt isolated by the film and did not
take away many positive messages about Christian beliefs. Considering this, the film
struggled to achieve its goal of educating the audience on Christian ideals and
evangelizing to non-Christians. However, the goal of calling Christians to evangelization
may have been reached. Many reviews included Christians explaining how they followed
75 the call to text friends that “God Is Not Dead,” and felt inspired to share their faith with others. The final goal of transforming culture does not appear to have been reached as indicated by the polarizing reviews of the film. Additionally, the subsequent God’s Not
Dead sequels have not performed as well as this first film. This suggests that the movement is losing influence, which also suggests that a transformation of culture, as would be understood by the filmmakers, has not necessarily occurred.
Silence
Numerical scores. The numerical scores given to Silence have been pulled from the same sources used for God’s Not Dead. The scores are not as polarized as those given to God’s Not Dead.
Overall, Silence received mostly favorable scores. On the Rotten Tomatoes
website, the film was given a score of 83% by critics and a 69% by the general audience
(Rotten Tomatoes). The higher critic score could be due to the technical artistry of the
film, which had a well-known director and cinematographer. The finer technicalities of
the film may not have been as significant to a general audience and their subsequent
reviews. The film received a 7.2/10 on IMDB with the highest percentage of the ratings
being clustered around 8/10 or 7/10 (IMDB). Unlike God’s Not Dead, this film did not
appear to provoke as strong of a like or dislike. Silence was given a 10/10 by 8.3% of
reviewers and a 1/10 by only 2% of reviewers (IMDB). This suggests the film was not as
controversial as God’s Not Dead. Metacritic shows a similar reaction as the other two
websites. The “metascore” given to the film was 79/100 and the user score was 7.6/10
(Metacritic). According to Metacritic, most of the reviews (258) were positive with only
76 45 mixed reviews and 24 negative reviews (Metacritic). These scores suggest the film was met with approval from most audience members.
Popular film reviews. The methodology and categorization used for the popular reviews of God’s Not Dead were repeated for Silence. Reviews were sourced from
Metacritic, IMDB, Rotten Tomatoes, and various other websites and blogs. As suggested by the numerical score, most of the reviews were either positive or neutral.
The positive reviews of Silence focus on the film’s depth, visual beauty, and
thought-provoking nature. Many reviews recognized that the film was not a film that was
“entertaining” in the typical sense, but was instead a “challenging” and “intense journey”
for viewers (WardenRedcrow; Jacob D). These descriptions are attributable to the film’s
heady topics, which left many viewers stating they needed multiple days to digest the
film or watched it more than once in order to fully appreciate the film (MattBrady99;
Chip). Also, many reviews mentioned the beauty of the film, describing it as stunning,
intimate, and artful.
In addition to praising the general artistry and emotional impact of the film, many
positive reviews seemed to understand the intended themes and purposes of Silence .
These reviewers explain the story of Silence to be an “exploration of faith, tradition, and
commitment” that depicts the “endurance of faith,” and raises questions about faith with
which the audience must wrestle (TheEventsOf1989; Tyranian). Further, many of the
reviewers commend the film’s open-ended structure. The film “asks questions more than
it gives answers,” and leaves the decisions up to the audience to decide and discuss
(MattBrady99). By not presenting a straightforward message or answer to the
contemplations of faith, the film requires the audience to go on an “exhausting journey”
77 that leaves the viewers feeling “pummeled and thankful” (Jacob D). Similarly, one reviewer likened the film to a piece of artwork that each person “appreciates differently and each in his own way gleans a bit of its truth viewed through the lens of his own,”
(Chip). From this point of view, there is no correct way to interpret the film. These viewers understand the purpose of Silence to be a thoughtful examination of faith that emphasizes the individual perspective of the audience.
Many positive reviewers seem to appreciate the film’s hesitancy to depict
Christians or non-Christians in one particular way. These viewers seemed to enjoy the film’s human depiction of Christians who have flaws and struggles. Moreover, the film is conscious of the potential “intellectual arrogance” of Christians and the potential
“imperialism of missionary work” (Delia; MattBrady99). And while the film presents these possibilities, it does not judge them, indict or endorse Christianity, or ask the viewer to believe anything in particular (Bob K; Brandon S). Many viewers maintained that they could relate to different aspects of the Christian characters, and that the film did not place them on a moral high ground. From this viewpoint, Silence represents Christians in a less biased manner with no ulterior motive other than to depict a story about the struggles of faith. The film’s representation of non-Christian characters was not mentioned often in the positive reviews. One review was “glad it [Silence ] didn't turn a complete blind eye to or vilify the Japanese stance” (Eva R). One possibility for the lack of discussion surrounding non-Christian characters could be that the film did not focus on the outward conflict of the Christians versus the non-Christians or the conflict of Christianity with the
Japanese culture as much as it emphasized the internal conflicts involving faith, doubt, and suffering. Overall, the positive reviews of the film decoded the film’s themes as
78 intended by the director, and these audience members understand the film to be a journey toward a better understanding of their own faith.
The neutral reviews of Silence agreed the film was beautifully shot and intimate,
but maintained the film was either too long, too spiritual for non-Christians, or possibly
presented concerning representations of Christianity. Many reviews described the film as
overly long with a slow pacing that left some “fighting sleep” (Marchant, Matt D). Some
felt the film required too much mentally or that it wasn’t engaging due to their own lack
of interest in the topic of faith and religion, citing that the “there might be more to chew
on here for deeply religious people” (Matt D). Through this lens, the film is unable to
reach a wide range of audience members because it eschews the normal entertainment
guidelines of a film to be action-packed and easy on the viewer.
Additionally, some audience members were concerned about the lack of clarity in
the film’s message and the representation of Christians. One Christian reviewer stated the
film is “one of the most challenging films about faith, and I’m still struggling with the
questions it raised...this is a unique movie that demands a lot of thought, and not
everyone will be ready for it” (Landes). This reviewer’s concern was for people who are
not yet strong in their faith being challenged too much. From this perspective, the film
could be seen as a source that diminishes one’s faith due to it not being strong enough to
endure questioning and doubts. Some other Christians reviewers took issue with the
film's depiction of apostasy. Alex Duke of The Gospel Coalition felt the “Christ-endorsed
apostasy” tarnished the film (Duke). Some other reviews echoed this sentiment, agreeing
that the handling of apostasy and its spiritual implications, which were left open to
interpretation, left some Christians feeling conflicted. This understanding of the film sees
79 its emphasis on provoking thought instead of presenting a specific message as potentially harmful to particular beliefs held by some Christians. Overall, the neutral reviews agreed the film was beautifully shot, but both Christian and non-Christian audiences had issues with some of the subject matter presented by the film. Some non-Christians found the film to be uninteresting due to its extensive focus on faith, and some Christians found the film concerning due to its handling of faith.
The negative reviews of Silence also pointed out the long run time and debated
the “correctness” of the film in terms of Christian teachings and thought. These reviews
were more aggressive in their dislike of the film’s handling of apostasy and Christian
suffering. Some reviews called the film “anti-Christian propaganda” that is an “attack on
faith and God” (Jvkahle; Matson R). These reviews disagreed with the portrayal of
Rodrigues’ apostasy as an “act of love,” stating that it was “a justification of
faithlessness” (Miner). Further, these viewers argued that the film “twisted apostasy into
an act of Christian charity and martyrdom into a Satanic act by dismissing the end goal of
heaven” (Miner; Jacabiya). To these viewers, who view apostasy as an unacceptable act,
faith should not be left open to interpretation as it could lead to many “losing their souls”
(Jacabiya). Additionally, some negative reviews brought up the issue of casting. These
reviews disliked the filmmaker’s decision to cast non-Portuguese actors to play the
priests and to have them try to use Portuguese accents. This is an ongoing issue in the
film industry. And while Japanese actors were chosen to play the role of Japanese
characters, some reviewers felt the film did not focus enough on portraying Japanese
culture. The combination of a white-washed casting of the Portuguese characters and a
80 vague presentation of the larger cultural context in which the film’s conflict takes place has led some to labeling the Christian characters as “white saviors” (Resonante Team).
Overall, the intended theme of faith was decoded by most audience members, but the audience's response to that theme varied. Some viewers felt the film allowed them to explore their own faith, some suggested the film was not thought-provoking, and some maintained the film was an attack on faith. The popular reviews highlight how the personal beliefs and perspectives of audience members influenced their understanding of the film and its credibility in portraying faith.
Professional critic reviews. Due to the prestige of the director, this film garnered more critical attention than God’s Not Dead . Based on the numerical scores, the film received mostly high ratings from critics. Moreover, most reviews found the film to have excellent production values and intriguing themes, but some reviews believed the film fell short due to its pacing. Stephanie Zacharek from Time described the film as “a movie in the shape of a question mark” that radiantly explored faith (Zacharek). Many critics agreed with this assessment, stating the film was deeply thoughtful and meaningful
(Vishnevetsky; McCarthy; Baumgarten). Further, some praised Scorsese for being able to engage doubt and belief so powerfully without making any clear value judgements
(Vishnevetsky; Dargis). However, some argued these aspects of the film were overshadowed by the flawed storytelling. These critics described the storytelling as
“erratically paced” and simply “too long,” demanding a patience and forbearance that is
“rarely associated with modern cinema in general” (Berardinelli). Manohla Dargis of the
New York Times agreed with this sentiment stating that the “crushing lack of urgency” in its telling was disappointing (Dargis). Overall, these reviews agreed with the overall
81 consensus of the popular reviews: that the film was beautifully made and had the potential to be extremely impactful if it had been better paced.
The stated purpose of Silence was to present and evoke an exploration of faith.
Further, the film hoped to reach a wider target audience than most Christian films and
spark conversations and contemplations on faith. This film appears to have been mildly
successful in its goal. While the film was not appreciated by all who saw it, many
comments included viewers stating that they do not typically watch films that include
heavy religious themes. Additionally, many viewers said the film caused them to reflect
on their own faith or challenged them to grow in their faith. Even those who disagreed
with the film's portrayal of faith were helping the film further its end goal of an
exploration of faith by causing audience members to decide for themselves what it means
to have faith. So, negative reviews of Silence do not mean it did not reach its goal.
However, some felt the length and pacing of the film made it too difficult to follow,
resulting in them disregarding the film and its presentation of faith. This reaction is not
one of contemplation or examination. Overall, these reviews suggest that the film was
mildly successful in its goals.
In this final section, the audience response and reception to each film was studied.
Study of popular and professional critic reviews aided in gaining a greater understanding
of the viewer's grasp of the messages provided by the films. The extent to which the
film’s reached their stated purposes was also analyzed.
This chapter analyzed the films God’s Not Dead and Silence as well as paratextual
sources. The three-pronged analysis, in alignment with the tenets of cultural studies,
served to garner an understanding of each film’s encoded and decoded messages,
82 representation of Christians and non-Christians, and overall communication of a
Christian identity. This analysis allowed for the implications of particular understandings of each film to be evaluated.
83 CHAPTER FOUR
Discussion and Conclusion
This thesis has analyzed two faith-based films and their corresponding paratexts to try and determine how the label of Christian films are applied to each. In the previous chapter, the messaging and representation of Christianity in each film was discussed. In this chapter, I will summarize how labels of faithfulness were applied to each film and the larger cultural ramifications of that positioning. Several facets of the Christian label will be analyzed, as well as the impact of Christian branding on cultural preferences both within and beyond the films themselves. Through this analysis, a faith-based film pedagogy will be revealed. Then, I will discuss the limitations to my study and provide suggestions for future research on faith-based films. Finally, I will discuss the significance of this thesis.
The Christian Label and Faith-Based Pedagogy
The Christian label is negotiated between the production, the messaging of the film, and the larger audience interpretation. Whereas in the research of Lindvall and others describing Christian films of the Twentieth Century, films bearing the label of faith-based were films that were produced to focus on the apostles, Jesus, or other
Biblical stories; today, the label of Christian film is a cultural negotiation. Given the way
Christians now expect films to be positioned and to contribute to certain forms of apologetics, that cultural negotiation plays out differently for films such as God’s Not
Dead and Silence . The specifics of each component of this negotiation were laid out in
84 the previous chapter. Now, a larger understanding of each films’ positioning and cultural impacts will be discussed.
Through films like God’s Not Dead and their personal branding as a production
company, Pure Flix seeks to channel faith-based films as a genre into one type of film.
They market their company as one that provides films that “honor Jesus Christ and don’t
shy away from faith” (Pure Flix). However, their definition of honoring Jesus Christ and
not shying away from faith is limited. This type of film includes a markedly protestant,
evangelical understanding of faith. This lens is highlighted through the film's messaging
of salvation and pointed screen-based interactions with God, church, and non-Christians.
Further, this type of film invites specific actions. These actions include evangelization to
non-Christians, going to the Bible for answers, and defending one’s faith to anyone who
is not outwardly declaring their allegiance to protestant Christianity. A necessary
characteristic of Pure Flix’s type of film includes the main character going on a spiritual
journey that strengthens his or her faith. In addition to portraying particular theological
messages, the film must also represent particular values. The label of being “value-based”
is used frequently in Pure Flix’s marketing, but is never outright defined. However, God’s
Not Dead seems to equate “values” with a conservative political leaning, the absence of
violence, sex, and drugs, and an emphasis on quotations of scripture. According to Pure
Flix, Christian films should attempt to evangelize non-Christians and boost the faith of
Christians. These facets of the Christian label and explicit messaging were clear to the
audience. Pure Flix was able to secure its vision of Christianity, at least temporarily,
through its paratextual lessons and explicit film messaging. By taking on the culture war
85 Pure Flix believes is occurring, the production company has managed to position
Christian films in one rarefied understanding.
Martin Scorsese is also making a faith-based film, but the label of Christianity, for audiences, is more difficult to decipher. By depicting a journey, Scorsese omits direct messaging in favor of reflection. Further, his emphasis on creating a realistic representation of Christian struggles do not overtly work to convert the audience to
Christianity. It is significant to note that Silence was released two years after God’s Not
Dead, meaning Pure Flix may have already established a particular label of Christianity for faith-based films. As Silence does not fit into the mold of faithfulness as created by film’s like God’s Not Dead, it may not have been flagged as Christian by some audiences, who may be committed to a vision of faith-based films closer to that of Pure Flix.
Additionally, the vague messaging of Silence, that relied heavily on audience interpretation, might have kept the film from being clearly labeled as Christian. The reputation of Scorsese as a director, including both his film The Temptation of Christ and his high status in the film industry, and the backlash from some Christians also could have caused the film to not be read as Christian. While God’s Not Dead also received scrutiny from some Christians, that scrutiny did not invalidate its Christian label because the filmmakers had so heavily and outwardly positioned it as a Christian film. Silence’s positioning as a “personal project” of Scorsese's and a “journey about faith” did not give it the same security (Cabin). Further, Silence’s emphasis on the broader concept of faith instead of Christianity in particular also could have weakened its tie to a Christian label.
Overall, the vague nature of a faith-based film like Silence , while containing Christian
86 characters and themes, does not lend itself to the same Christian label that God’s Not
Dead received.
Pure Flix and similar cultural efforts at Christian branding may have changed broader preferences, such that to become seen as Christian requires particularized messaging. The growing Christian culture industry aids in shaping a specific cultural understanding of what constitutes a Christian product. In general, a cultural industry is
“manufactured more or less according to plan. The individual branches are similar in structure or at least fit into each other, ordering themselves into a system almost without a gap” (Adorno and Rabinbach 12). A Christian cultural industry is then a manufactured representation of the Christian identity that is underscored by multiple types of products, such as music, books, and films, that all fit within a similar structure, or messaging, of
Christianity (Lott). To state more directly, it is a collection of different products all with similar structures, purposes, and meanings. The products of the Christian culture industry are “artifacts of material evangelical Christian culture” and provide ways of “identifying oneself as an insider to other insiders,” which in this case would mean remaining “firmly in the fold of evangelical Christianity” (Clark 528). By continually presenting a particular lens of Christianity, the Christian cultural industry may “legitimate certain religious viewpoints over others” (Clark 531). Further, these products are “central locations for struggles over power and definition involving religion” (Clark 537). The more dominant definition then becomes the guideline with which products must adhere to in order to gain access to the Christian label.
From this Christian cultural industry, a faith-based pedagogy is revealed. God’s
Not Dead structured itself similarly to other faith-based films — such as Fireproof,
87 Courageous, and Soul Surfer — that had previously been released. These films set a
precedent for the presence of a redemptive message and wholesome content, content not
including nudity, violence, or bad language (M. O’Connor; Laughlin). As a cultural
industry “tolerates hardly any deviation and incessantly drills the same formulas of
behavior,” or in this case formulas of screenwriting, some films with Christian themes
and messages may not be validated by the Christian cultural industry (Adorno and
Rabinbach 18). Not only did the screenwriting of God’s Not Dead fit within the pre-set
formula, the ample marketing of the film also aided in its Christian labeling. These
marketing efforts, which were analyzed in chapter three of this thesis, included YouTube
videos, promotional apps, a campaign guide, and a study guide. These artifacts not only
fit within the Christian culture industry, but also added to it. Silence , however, did not fit
within the Christian culture industry with its screenwriting nor with its marketing efforts.
Thus, it struggled to maintain a label of faithfulness. However, it is important to note that
such branding and pedagogy are for a particular moment. As the “struggle for definition”
shifts, these trends will change, and a new pedagogy will be created (Clark 537). That
pedagogy may lean into the narrative of Christian film offered by companies like Pure
Flix, or may shift to become broader. In general, culture industries generate a
never-ending cycle of change such that cultural preferences are shifted regularly.
Limitations and Suggestions for Future Research
This thesis, which studied how films are identified as Christian and the ways
viewers process the narratives and lessons of Christian films, had limitations. This thesis
was limited to two films, God’s Not Dead and Silence , to study the genre of faith-based
films. These films are not able to be fully representative of the genre, nor are the
88 responses to these individual films able to be representative of the response to faith-based films as a whole. Additionally, these films were released between 2014 and 2016, which represent a particular time in the faith-based genre. As stated above, faith-based pedagogy may not be the same now as it was then. Therefore, this study is limited to discussion of that time period. This thesis did not have the opportunity to consider other cultural institutions, such as youth groups, that might have impacted the analysis of each film. Moreover, this thesis gave general overviews of audience engagement and response to the film, but did not study specific group or institutional interactions with each film.
For future research, these institutions may be analyzed as well as additional faith-based films. The response to the other film’s in the God’s Not Dead trilogy could also be
analyzed to study possible developments in the Christian cultural industry.
There are also broader cultural elements that could be investigated in relationship
to these films or to Christian films more generally. Scholars have begun to interrogate a
variety of ways that Christians and Christian institutions participate within broader
cultural ideologies. Recent books such as Jesus and John Wayne, I’m Still Here, and The
Color of Compromise suggest that broader ideological and cultural values may shape
Christian films, Christian culture industries, and the interpretive patterns of Christians themselves. Using these recent literatures on gender, race, and culture could broaden the conversation within this thesis. Such scholarship may offer broader lenses through which to analyze Christian films and culture industries.
These readings all emphasize that “what it means to be a ‘conservative evangelical’ is as much about culture as it is about theology” (Mez 10). Kristin Kobes Du
Mez, in Jesus and John Wayne, studies how the ‘masculine Christian male’ identity was
89 forged, not through scripture, but through the use “evangelical celebrities,” such as John
Wayne, who played an “outsized role in both reflecting and shaping the cultural values evangelicals would come to hold dear” (Mez 30). This idea that some purported Christian values are actually a result of historical and cultural movements is echoed in I’m Still
Here and The Color of Compromise, which both deal with the subject of racism within
evangelical Christianity. On Brené Brown’s podcast, I’m Still Here author Austin
Channing Brown discussed the cultural basis that has led to a “deep difference between
the Jesus that black folks worship and the Jesus that white Christians worship” (Brown).
Brown roots these differences in a cultural emphasis for “preservation of self” and
“power,” that has kept some evangelicals from standing for the oppressed (Brown). Jemar
Tisby, in The Color of Compromise, looks to the history of racism within Christianity to
highlight its cultural, not theological, beginnings. To keep the institution of slavery safe
from revolt, Europeans “conflated religion and culture” and “preached a message that
said Christianity could save one’s soul but not break one’s chains” (Tisby). The
overarching message of these readings is how cultural messages and trends can
amalgamate with Christian culture to form Christian identities and values that are no
longer strictly biblical.
Broader amalgamation of this sort is made possible most significantly through the
Christian culture industry. By “dominating the production and distribution of Christian
consumer culture,” conservative evangelicals are able to distribute particular values and
identities to Christians (Mez 10). These industries, such as Lifeway Christian Resources,
act as a gatekeeper, blocking Christian products that do not match their understanding of
Christian values from reaching consumers. When Christians go to extra-biblical resources
90 for guidance, the resources to be found by the Christian culture industry introduce them
“to a larger world of evangelical ‘family values’ — to traditional visions of masculinity and femininity, and to a social order structured along clear lines of patriarchal authority”
(Mez 296). Moreover, the Christian culture industry today is focused on providing messages endorsing purity culture, militarism, fear of ‘others’ and other culturally-based notions of Christianity. What the Christian culture industry is distributing to Christians is important to study because once “steeped in this ideology” it can be difficult for
Christians to “extricate their faith, and their identity, from this larger cultural movement”
(Mez 302). The values set forth by the Christian culture industry have a large influence over the Christian identity because “the products Christians consume shape the faith they inhabit” (Mez 10).
This thesis shows one small part of how these culture industries influence audiences through films like God’s Not Dead, but continuing to interrogate other
Christian cultural industry products and how Lifeway Christian Resources and other industries shape the Christian identity is of the highest importance. As stated above, once these ideologies have become pervasive among Christians, it can be difficult to separate culturally-based beliefs from biblically-based beliefs. Moreover, the ideas distributed by the Christian culture industry become a part of Christianity. Therefore, extensive examinations of those messages are needed to ensure the Christian identity has been formed in good faith. Examination of the Christian culture industry will require some
Christians to “grapple with learning a narrative that contradicts much of what you
[Christians] have been taught since childhood,” which will not be easy (Tisby). But, it
91 could result in “propagating a more authentically biblical message” of Christian values and the Christian identity (Tisby).
Conclusion
This thesis aimed to study two faith-based films through cultural analysis in order to better understand what the films communicated to their viewers about Christians and non-Christians, as well as how faith-based films are branded to maintain the label of
Christian. To do so, this thesis examined the films and their paratextual resources. This thesis suggests that God’s Not Dead communicated a cultural war between Christians and
non-Christians in which Christians are depicted as defenders of their faith and
non-Christians are depicted as anti-Christian. God’s Not Dead was able to maintain its
Christian label through its adherence to the standard faith-based film pedagogy of the
time and through its expansive marketing efforts. Silence , as suggested by this thesis,
communicated a more complex understanding of Christians and non-Christians in which
both have personal faults and reasons for their individual beliefs. While communicating
Christian themes, Silence was unable to maintain the label of Christian to the same extent of God’s Not Dead because of its open-ended messaging and lack of evangelical
Christian-centered marketing that did not fit within the Christian culture industry standard.
This thesis is significant because it uses paratextual sources in addition to the individual films to gain a greater understanding of the films’ cultural significance.
Cultural artifacts “gain their meaning in use,” which means the audience’s understanding of a film’s message is important for understanding how these artifacts are working within and impacting the greater culture (Clark 528). The Christian culture industry uses films
92 such as the ones studied in this thesis, by either accepting or rejecting them, to shape the
Christian identity and to “project the resulting identity to others” (Lott). Therefore, these films contribute to the way Christians identify themselves and the way others identify
Christians. Awareness of this identity, which is studied by this thesis, is necessary for
Christians to advocate for acceptance or refashioning of this identity.
The importance of understanding what gets coded “Christian” is significant to both Christians and non-Christians. For Christians, this understanding might prompt reflection on whether or not particular beliefs they hold are biblically-based or culturally-based. Further, this examination could result in a desire to reshape the current
Christian identity. Moreover, what is coded as “Christian” should be important to
Christians who wish to have biblically-based beliefs and accurate representation of
Christian values. For non-Christians, the understanding of what gets coded as “Christian” could help reconcile grievances with the religion due to some of its culturally-based identities. Additionally, awareness that there are other Christian products, such as Silence,
that do not get coded as “Christian,” but are still representative of Christianity could lead
to a broader, even ecumencial, understanding of Christianity. Overall, these cultural
products have the ability to shape not only non-Christians perception of Christianity, but
also shape the beliefs of Christians themselves. Therefore, cultural artifacts and the way
the Christian culture industry works to give or take away the label of faithfulness should
be studied by all.
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APPENDIX
94 APPENDIX
Campaign Guide for God’s Not Dead
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