Film And The Afterlife

This book explores how post-death existence is represented in popular film, looking at issues such as continuity, personal identity, and the nature of existence beyond the grave. Film often returns to the theme of dying, death and the afterlife, both directly and indirectly, because there are very few subjects as compelling and universal. The book compares the representation of death, dying and the afterlife in films to scholarly surveys of attitudes towards life-after-death through the analysis of twenty films made between the end of World War II and now. It looks at the portrayals of stages between death and a final destination; spatio-temporal and personal continuity; the nature of afterlife existence in terms of embodiment, or not; and the contact between the worlds of the living and the dead. This book offers a wide-ranging view on a compelling subject in film. As such, it will be of great interest to scholars of Religion and Film, Religion and Media, the Philosophy of Religion, and the Sociology of Religion, as well as Religion, Media and Film Studies more generally .

Pennies From Across the Veil is a love story... about death. Karl Himmel tells the story to an unknown presence, of how he met, fell in love, and married the woman of his dreams, Jenny Engels. But at the time of the telling, Karl and Jenny find themselves on different sides of the veil—the separation we call death. But not even death can stop true love. Powerful signs come to those from loved ones who have passed. They can be found any and everywhere, we just need to look for them. The most significant for Karl and Jenny was the finding of numerous wheat-back pennies. However, could there have been many others, and did these signs have a deeper meaning?

This is a definitive study of films that have been built around the themes of love, death, and the afterlife—films about lovers who meet again (and love again) in heaven, via reincarnation, or through other kinds of after-death encounters. Far more than books about mere ghosts in the movies or religion in movies, Love in the Afterlife presents a complex but highly distinctive and unique pattern—the love-death-afterlife pattern—as it was handed down by the ancient Egyptians and Greeks (in the Isis and Orpheus myths, for example), developed by Freud and his followers in the duality of “Eros and Thanatos,” and then featured in popular movies from the 1920s to the recent past. Among its other qualities, Love in the Afterlife may encourage readers to look at movies differently and reflect upon the possibility that other patterns in cinema may have gone undetected for years. Furthermore, this book will show how the love-death-afterlife theme found its way into all sorts of different film types: melodramas, comedies, war films, horror films, film noir, and other genres. The book will be well illustrated and quotations from film reviews will enliven its pages. A long appendix gives production data on almost sixty individual films.

Beowulf's presence on the popular cultural radar has increased in the past two decades, coincident with cultural crisis and change. Why? By way of a fusion of cultural studies, adaptation theory, and monster theory, Beowulf's Popular Afterlife examines a wide range of Anglo-American retellings and appropriations found in literary texts, comic books, and film. The most remarkable feature of popular adaptations of the poem is that its monsters, frequently victims of organized militarism, male aggression, or social injustice, are provided with strong motives for their retaliatory brutality. Popular adaptations invert the heroic ideology of the poem, and monsters are not only created by powerful men but are projections of their own pathological behavior. At the same time there is no question that the monsters created by human malfeasance must be eradicated.

#1 NEW YORK TIMES BESTSELLER • One million copies sold! Dr. Mary Neal (featured in the Netflix original series Surviving Death) tells the incredible story of the kayak accident during a South American adventure that took her to heaven—where she experienced God’s peace, joy, and angels—and back to life again. In 1999 in the Los Rios region of southern Chile, orthopedic surgeon, devoted wife, and loving mother Dr. Mary Neal drowned in a kayak accident. While cascading down a waterfall, her kayak became pinned at the bottom and she was immediately and completely submerged. Despite the rescue efforts of her companions, Mary was underwater for too long, and as a result, died. To Heaven and Back is Mary’s remarkable story of her life’s spiritual journey and what happened as she moved from life to death to eternal life, and back again. Detailing her feelings and surroundings in heaven, her communication with angels, and her deep sense of sadness when she realized it wasn’t her time, Mary shares the captivating experience of her modern-day miracle. Mary’s life has been forever changed by her newfound understanding of her purpose on earth, her awareness of God, her closer relationship with Jesus, and her personal spiritual journey suddenly enhanced by a first-hand experience in heaven. To Heaven and Back will reacquaint you with the hope, wonder, and promise of heaven, while enriching you own faith and walk with God.

FBI agent Will Brody remembers the explosion, then waking without a scratch. Welcome to the afterlife. But the line between life and death is narrower than we suspect, and all that matters to Will is getting back to Claire.

Screening the Afterlife is a unique and fascinating exploration of the ‘last things’ as envisaged by modern filmmakers. Drawing on a range of films from Flatliners and What Dreams May Come to Working Girl and The Shawshank Redemption, it offers the first comprehensive examination of death and the afterlife within the growing field of religion and film. Topics addressed include: the survival of personhood after death the language of resurrection and immortality Near-Death Experiences and Mind-Dependent Worlds the portrayal of ‘heaven’ and ‘hell’. Students taking courses on eschatology will find this a stimulating and thought provoking resource, while scholars will relish Deacy’s theological insight and understanding.

With the full range of his voluminous writings finally viewable, Andr? Bazin seems more deserving than ever to be considered the most influential of all writers on film. His brief career, 1943-58, helped bring about the leap from classical cinema to the modern art of Renoir, Welles, and neorealism. Founder of Cahiers du Cin?ma, he encouraged the future New Wave directors to confront his telltale question, What is Cinema? This collection considers another vital question, Who is Bazin? In it, thirty three renowned film scholars--including de Baecque, Elsaesser, Gunning, and MacCabe--tackle Bazin's meaning for the 2st century. They have found in his writings unmistakable traces of Flaubert, Bergson, Breton, and Benjamin and they have pursued this vein to the gold mine of Deleuze and Derrida. They have probed and assessed his ideas on film history, style, and technique, measuring him against today's media regime, while measuring that regime against him. They have located the precious ore of his thought couched within striations of French postwar politics and culture, and they have revealed the unexpected effects of that thought on filmmakers and film culture on four continents. Open Bazin; you will find a treasure.