The Challenge of the Silver Screen: An Analysis of the by Freek L. Bakker

By Freek L. Bakker

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Extra info for The Challenge of the Silver Screen: An Analysis of the Cinematic Portraits of Jesus, Rama, Buddha and Muhammad (Studies in Religion and the Arts)

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The decision to have ordinary people in the film also gave it the appearance of being a passion play, because passion plays are usually performed by common people. But certain actors had other origins. Pasolini’s own mother played the older Mary, whereas the director choose a Basque student, Enrique Irazoqui (b. 1945), to play Jesus. This was an act of courage, since Irazoqui’s face did not reflect the traditional appearance of Jesus’ face. The Basque’s face was rugged and somewhat surly, but this accentuated Jesus’ revolutionary attitude in The Gospel.

It is accomplished,’ he says and dies. This sequence is followed directly by a burst of flashing coloured lights of blue, green, red and orange, with yellow and white dominating in the end. The vigorous sound of a number of sirens is heard, followed by joyous, jubilant church bells in the background: ‘it comes very close to effectively suggesting the Resurrection’ (Baugh: 69). Remarkably, W. 16 In the last sequence, which he qualifies as ‘a simple strip of celluloid’, the German Catholic theologian Peter Hasenberg (b.

Sidney Olcott also used some of his illustrations later as background for the title pictures of his film, whereas Cecile B. DeMille used them as inspiration for many scenes in The King of Kings. There was even a filmmaker in the 1960s who still followed this procedure: George Stevens copied Leonardo da Vinci’s Last Supper in his Greatest Story Ever Told. The Correspondence of the Films with the Bible Sidney Olcott’s From the Manger to the Cross, which was released in 1912, also gave a traditional portrayal of Jesus.

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