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Surprised by Laughter
Surprised by Laughter looks at the career and writings of C. S. Lewis and discovers a man whose life and beliefs were sustained by joy and humor. All of his life, C. S. Lewis possessed a spirit of individuality. An atheist from childhood, he became a Christian as an adult and eventually knew international acclaim as a respected theologian. He was known worldwide for his works of fiction, especially the Chronicles of Narnia; and for his books on life and faith, including Mere Christianity, A Grief Observed, and Surprised by Joy. But perhaps the most visible difference in his life was his abiding sense of humor. It was through this humor that he often reached his readers and listeners, allowin...
God Mocks
Winner of the 2016 Religious Communication Association Book of the Year Award In God Mocks, Terry Lindvall ventures into the muddy and dangerous realm of religious satire, chronicling its evolution from the biblical wit and humor of the Hebrew prophets through the Roman Era and the Middle Ages all the way up to the present. He takes the reader on a journey through the work of Chaucer and his Canterbury Tales, Cervantes, Jonathan Swift, and Mark Twain, and ending with the mediated entertainment of modern wags like Stephen Colbert. Lindvall finds that there is a method to the madness of these mockers: true satire, he argues, is at its heart moral outrage expressed in laughter. But there are re...
God on the Big Screen
Links film history with church history over the past century, illuminating America’s broader relationship with religious currents over time Moments of prayer have been represented in Hollywood movies since the silent era, appearing unexpectedly in films as diverse as Rebecca of Sunnybrook Farm, Frankenstein, Amistad, Easy Rider, Talladega Nights, and Alien 3, as well as in religiously inspired classics such as Ben-Hur and The Ten Commandments. Here, Terry Lindvall examines how films have reflected, and sometimes sought to prescribe, ideas about how one ought to pray. He surveys the landscape of those films that employ prayer in their narratives, beginning with the silent era and moving thr...
Divine Film Comedies
Divine Film Comedies creates a meaningful dialogue between stories in the Hebrew Bible and New Testament and comedies spanning the history of film. The text lies at the intersection of three disciplines: humor/comedy studies, film studies, and theology. Drawing on films from the silent era to the 21st century, the book highlights parallels between comedic sub-genres and sacred narratives, parables, and proverbs, illuminating a path to seeing and understanding both Scripture and film through a comic lens. The book will be of interest to students and scholars of theology and film, media, and communications.
Sanctuary Cinema
Sanctuary Cinema provides the first history of the origins of the Christian film industry. Focusing on the early days of film during the silent era, it traces the ways in which the Church came to adopt film making as a way of conveying the Christian message to adherents. Surprisingly, rather than separating themselves from Hollywood or the American entertainment culture, early Christian film makers embraced Hollywood cinematic techniques and often populated their films with attractive actors and actresses. But they communicated their sectarian message effectively to believers, and helped to shape subsequent understandings of the Gospel message, which had historically been almost exclusively verbal, not communicated through visual media. -- Publisher's Description.
Pat Robertson
A portrait of the 700 Club host and co-founder of the Christian Coalition considers his role as a reviled figure in the secular world and a formidable role model among Christian fundamentalists, in a profile that lauds his achievements while questioning some of his decisions.
Celluloid Sermons
Christian filmmaking, done outside of the corporate Hollywood industry and produced for Christian churches, affected a significant audience of church people. Protestant denominations and individuals believed that they could preach and teach more effectively through the mass medium of film. Although suspicion toward the film industry marked many conservatives during the early 1930s, many Christian leaders came to believe in the power of technology to convert or to morally instruct people. Thus the growth of a Christian film industry was an extension of the Protestant tradition of preaching, with the films becoming celluloid sermons. Celluloid Sermons is the first historical study of this phen...
Sanctuary Cinema
Sanctuary Cinema provides the first history of the origins of the Christian film industry. Focusing on the early days of film during the silent era, it traces the ways in which the Church came to adopt film making as a way of conveying the Christian message to adherents. Surprisingly, rather than separating themselves from Hollywood or the American entertainment culture, early Christian film makers embraced Hollywood cinematic techniques and often populated their films with attractive actors and actresses. But they communicated their sectarian message effectively to believers, and helped to shape subsequent understandings of the Gospel message, which had historically been almost exclusively verbal, not communicated through visual media. -- PUBLISHER'S DESCRIPTION.
The Mother of All Laughter
When the superannuated biblical Sarah learned that she would give birth to a son, she burst out laughing, and that son's name-Isaac-was forever a testimony to this moment of holy mirth. In The Mother of All Laughter: Sarah & the Genesis of Comedy, Terry Lindvall argues that there is a biblical place for laughter. At times, he lets truth be obscured by a good story (as when he cites the famous Neil Armstrong/"Mr. Gorsky" urban legend as fact), but he raises important points about humor for Christians.
A Mirror for Fools: an Illustrated Alphabet of Religious Satire
Our purpose is threefold: first, to visually introduce an historical character who contributed to the practice of humor and satire in cartoon form. Second, we offer a bit of doggerel to tease some aspect of the person. Third, we settle down and provide a bit of context for the illustration and the verse. Like Horace's dulce et utile, we hope to teach and delight simultaneously. A mix of verse and illustration and commentary is meant to send readers back to the sources, to the rich, varied tradition of wit and humor being used for moral and spiritual reform. It then serves as that mirror that shows the reader his or her face, even as the authors recognize the marks of folly in their own.
