Religion intersects with film not only in film content, but also in the production and experience of film. From the earliest period, religious attitudes have shaped how religious individuals and communities have approached filmmaking as way to present temptation or salvation to the masses. Individual religious communities have produced their own films or have sought to monitor those that have been mass produced. To avoid conflict, filmmakers voluntarily agreed to self-monitoring, which had the effect of strongly shaping how religious figures and issues were presented. The demise of this system of self-regulation reintroduced conflict over film content as it expanded the ways in which religious figures and issues were presented, but it also shifted attention away from the religious identity of the filmmakers. Built on a foundation of “reading” symbolism in “art” films, and drawing from various forms of myth—the savior, the end of the world, and others—audiences became more comfortable finding in films religious symbolism that was not specifically associated with a specific religious community. Shifts in American religious demographics due to immigration, combined with the advent of the videocassette and the expansion of global capitalism, broadened (and improved) the representation of non-Christian religious themes and issues, and has resulted in the narrative use of non-Christian myths. Experimentation with sound and image has broadened the religious aspect of the film experience and made it possible for the viewing of film to replicate for some a religious experience. Others have broadened the film-viewing experience into a religious system. While traditional film continues to present traditional religions in traditional ways, technology has radically individualized audio-visual production, delivery, and experience, making film, like religion, and increasingly individualized phenomenon.
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Film and Religion in America
Eric Michael Mazur
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The Judeo-Christian and Abrahamic Traditions in America
K. Healan Gaston
The terms “Judeo-Christian” and “Abrahamic” are collective religious descriptors that identify points of theological, historical, and ethical commonality between the world’s largest monotheistic religious traditions. “Judeo-Christian” refers to the ground shared by Judaism and Christianity; “Abrahamic” designates elements common to Judaism, Christianity, and Islam. These terms have most often appeared in three contexts. First, scholars of religion have used them for technical, descriptive purposes, to denote the aforementioned religious traditions and the commitments they share. Second, interfaith advocates have employed the terms to identify the particular ecumenical task of cultivating harmonious relations between these three traditions. Finally, in wider public discourses, they have served as descriptors of the religious character of American culture, democracy, and/or national identity. Over time, the terms “Judeo-Christian” and “Abrahamic” have each become important ways of talking about the contributions of the world’s largest monotheistic religions to politics and culture in the United States.
However, in American public discourse, “Judeo-Christian” formulations have thus far demonstrated greater reach than “Abrahamic” ones. Between roughly World War II and the mid-1970s, when the United States rose to superpower status and assumed the helm of the Western civilizational project, the idea of America as, in various senses, a Judeo-Christian nation became commonplace. But unlike “Judeo-Christian,” which maps onto a discrete geographical region and a long-standing cultural project, “Abrahamic” tends to be used more narrowly to indicate a set of historically meaningful but geographically diffuse relationships that have become the subject of scholarly and ecumenical concern. Moreover, “Judeo-Christian” emerged in the wake of a massive influx of Jewish and Catholic immigrants between 1880 and 1920 that reshaped the American religious landscape. “Abrahamic” has likewise become more widespread since the immigration reforms of the mid-1960s, which began to bring greater numbers of Muslim immigrants to America’s shores. But the growing embrace of multiculturalism has largely militated against the widespread use of “Abrahamic” as a descriptor of American identity. Proponents and opponents of these terms have vigorously debated their strengths and weaknesses, their uses and abuses. Yet, despite the controversies over their meaning and relevance, “Judeo-Christian” and “Abrahamic” remain important ways of describing aspects of the American landscape in a multireligious age.
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Religious Foundations of the Last Instructions of 9/11
Hans G. Kippenberg
An instruction manual consisting of four sheets in Arabic was found with three of the four teams that performed the terror attacks on the United States on September 11, 2001. The writing conceived of the action as a raid (ghazwa), as we know it from early Islamic history. It instructed the teams how to perform the ghazwa correctly. Purifying their intentions by recitals, rituals, and bodily cleaning, they turn their attack into an act of worship. A part called the “second stage” anticipates the issue of assuring divine protection at the airport. Finally “a third stage” urges the teams to act in the plane according the practice of the Prophet and to achieve martyrdom.
To understand the manual and its framing of the violence, six dimensions will be analyzed: (1) Arguments for and against the authenticity of the document are discussed. (2) The attack happened in the wake of a declaration of war by the “World Islamic Front for the Jihad against Jews and Crusaders” in 1998, signed by Osama bin Laden and leaders of other jihadist groups. (3) The message spread across the Internet and was accepted by various groups that regarded the situation of Islam as threatened, among them a group of young Muslim men in Hamburg. A network called al-Qaeda emerged. (4) The present world is dominated by the power of ignorance and hubris (jahiliyya). The manual prescribed an attack in terms of the raids (ghazwa) of the Prophet in Medina. (5) The manual presumes a particular communal form of organizing militant Muslims. (6) It celebrated militancy of Muslims and presupposed a fighter’s ethos in the diaspora. An argument is made that the American concept of terrorism as a manifestation of evil and immorality destined to be eradicated militarily by the United States and their allies ignores the secular character of conflict and accelerates the cycle of violence.
