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The Challenge of the Silver Screen

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The Challenge of the Silver Screen Th e Challenge of the Silver Screen Studies in Religion and the Arts Editorial Board James Najarian Boston College Eric Ziolkowski Lafayette College VOLUME 1 Th e Challenge of the Silver Screen An Analysis of the Cinematic Portraits of Jesus, Rama, Buddha and Muhammad By Freek L. Bakker LEIDEN • BOSTON 2009 Cover design: Celine Ostendorf. Th is book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Bakker, Freek L., 1951– Th e challenge of the silver screen : an analysis of the cinematic portraits of Jesus, Rama, Buddha and Muhammad / by Freek L. Bakker. p. cm. — (Studies in religion and the arts ; v. 1) Includes bibliographical references and index. ISBN 978-90-04-16861-9 (hardback : alk. paper) 1. Religion in motion pictures. 2. Religious leaders in motion pictures. 3. Gods in motion pictures. 4. Religious fi lms— History and criticism. 5. Motion pictures—Religious aspects. I. Title. II. Series. PN1995.9.R4B35 2009 791.43’651—dc22 2009027280 We thank the following organisations and funds for giving fi nancial support: – Maatschappij van Welstand (Nederlands Protestants Convent) – Stichting Zonneweelde. ISSN 1877-3192 ISBN 978 90 04 16861 9 Copyright 2009 by Koninklijke Brill NV, Leiden, Th e Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to Th e Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands CONTENTS Foreword ............................................................................................. vii I. Introduction ............................................................................... 1 II. Jesus ............................................................................................ 13 1. A Short History ................................................................... 14 1.1. Th e First Films ............................................................ 14 1.2. Th e Silent Films .......................................................... 15 1.3. Later Films ................................................................... 18 2. Analysis ................................................................................. 42 3. Historical Background ........................................................ 54 3.1. Th e Visual Representation of Jesus .......................... 54 3.2. Th e Ideological Background ..................................... 59 3.3. Opposition to the Depiction of Jesus ...................... 61 3.4. Th e Issue of Anti-Semitism ....................................... 70 4. Many Images, One Jesus .................................................... 74 III. Rama ........................................................................................... 79 1. Th e Films .............................................................................. 81 1.1. A Short Introduction ................................................. 81 1.2. Th e Era of Silent Film ................................................ 82 1.3. Th e Era of Sound ........................................................ 86 1.4. Analysis ........................................................................ 108 2. Historical Background ........................................................ 116 2.1. Th e Visual Representation of Rama ........................ 117 2.2. Th e Ideological Background ..................................... 119 3. Th e Importance of Seeing in Hinduism .......................... 126 4. Th e Modern Ramayana Kathas ........................................ 128 IV. Buddha ....................................................................................... 133 1. Th e Films .............................................................................. 135 1.1. Th e Era of Silent Film ................................................ 136 1.2. Th e Era of Sound ........................................................ 140 1.3. Analysis ........................................................................ 162 2. Historical Background ........................................................ 168 2.1. Th e Visual Representation of Buddha ..................... 169 2.2. Th e Ideological Background ..................................... 173 vi contents 3. Resistance to Depicting Buddha in Film ........................ 183 4. Th anks to the Hindus and the Westerners ..................... 185 V. Muhammad ............................................................................... 189 1. Th e Film Itself ...................................................................... 190 2. Th e Film’s Relationship to the Muslim Tradition .......... 201 3. Conclusions .......................................................................... 210 VI. Jesus Restyled ............................................................................. 215 1. Th e Indian Jesus Films ....................................................... 216 1.1. Th e History of the Indian Jesus Films .................... 217 1.2. Th e Content of the Indian Jesus Films ................... 218 1.3. Th e Background of the Indian Jesus Films ............ 226 1.4. Th e Indian Character of the Indian Jesus Films ... 228 1.5. Preliminary Conclusions ........................................... 229 2. Th e South African Jesus Film ........................................... 229 2.1. Introduction ................................................................. 229 2.2. Content ......................................................................... 230 2.3. Interpretation ............................................................... 233 3. Th e Jesus Film of the African-American Christians ..... 236 3.1. Introduction ................................................................. 236 3.2. Content ......................................................................... 238 3.3. Retrospection ............................................................... 242 4. Siding with Powerless and Victims of Discrimination .... 243 VII. Some Conclusions .................................................................... 247 1. Between Tradition and Creativity: Th e Importance of the Audience ................................................................... 248 2. Film, Narration Modes and Subjectivity ......................... 251 3. Th e Positions of the Actors Playing the Sacred Figures .................................................................................. 252 4. Th e Sacred Environment ................................................... 253 5. Outside the Cultural Context of the Religions .............. 254 6. Between the Void, Images and Films: Again a Key Position for the Audience .................................................. 255 Filmography ........................................................................................ 263 Bibliography ........................................................................................ 265 Videos .................................................................................................. 273 Websites ............................................................................................... 275 Index .................................................................................................... 277 FOREWORD Th is book is the result of a project that began in August 2003. My research proved to be an interesting journey through four of the world’s great religions. I saw new, remarkable and oft en also beautiful images, and I also encountered attractive and sometimes complicated theories. Meanwhile, the journey yielded unexpected new insights into all four of these religions. Th ose with a reputation for being strict turned out to be more fl exible while those reputed to be tolerant proved to be decidedly less so. Meanwhile, a broad spectrum developed of images depicting how the divine, how God, was expressed in human form. Th e journey became a surprise that I gladly welcomed. I would like to thank the directors of Centre IIMO and the Department of Th eology of the Faculty of Humanities at Utrecht University for giving me the opportunity to conduct this research and for helping me to fi nd the necessary funding. I would also like to thank Henry Jansen for improving the English text—a task that was not always easy. Finally, I am grateful to both Regine Reincke and Maarten Frieswijk for the assistance they provided me on behalf of the publisher. Freek L. Bakker CHAPTER ONE INTRODUCTION On 1 November 1895 the German brothers Max and Emil Sklada- nowsky screened their fi rst short fi lms to a paying public in Berlin, to be followed almost two months later by the Lumière brothers in Paris. And they were not the only ones. In fact, in the same year a number of people showed fi lms without any knowledge that others were doing so as well. In the United States short movies were shown to individual spectators, but all had to be discontinued because of their audience’s lack of interest. Th e Skladanowsky brothers and the Lumière brothers screened their fi lms
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