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Gerard Loughlin (2005)
Cinema Divinite: A Theological Introduction
P. Parrain, Barthélemy Amengual, Vincent Pinel (1967)
Dreyer, cadres et mouvements
David Hume, P. Nidditch (1975)
David Hume: Enquiries Concerning Human Understanding and Concerning the Principles of Morals (Third Edition)
<jats:sec><jats:title><jats:bold>Abstract</jats:bold></jats:title><jats:p>Many scholars have analyzed Carl Theodor Dreyer’s<jats:italic>Ordet</jats:italic>for its unusual camera movements, long takes, and reverse-editing. Some have gone so far as to link these cinematic devices to<jats:italic>Ordet</jats:italic>’s narrative focus on miracles, exploring connections between the film’s form and its content. This essay attempts to bridge the gap between formal analysis and theological analysis. It examines the film’s representation of miracles against the conceptual history of miracles, considering the extent to which we may regard the film as a theological argument, making visual assertions as important and fruitful as verbal ones.</jats:p></jats:sec>
Religion and the Arts – Brill
Published: Jan 1, 2012
Keywords: miracles; resurrection; Richard Chenevix Trench; Ordet; Carl Theodor Dreyer; Theology and Film
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