Special effects and CGI in the biblical epic fi lm
in The Bible onscreen in the new millennium
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

If the concept of using credibility as a marker of quality is often true for the depiction of the past wherein even the slightest incongruity can be fatal, it is especially true for the biblical film. Alongside the development of special effects there have also arisen tropes and conventions which have become hallmarks of the epic and which are here used to support a biblical epic aesthetic. This chapter builds on ideas about effects in the epic film as an expression of verisimilitude, but here I propose instead to discuss effects not as guarantor of verisimilitude, but as ‘part of an overall process in which cinema displays itself and its powers’ (Neale 1980: 35) and how effects act as a function of spectacle, becoming part of an industrial selling point driving audiences to the cinema.

The Bible onscreen in the new millennium

New heart and new spirit

Editor: Wickham Clayton



All Time Past Year Past 30 Days
Abstract Views 47 47 3
Full Text Views 1 1 0
PDF Downloads 1 1 0