mythologically orientated Hollywood version of The Ten Commandments ( 1956 ). Such a shift reflects Scott’s own interest in more historically plausible filmmaking – Robin Hood ( 2010 ), Kingdom of Heaven ( 2005 ), Black Hawk Down ( 2001 ) and Gladiator ( 2000 ) – than in contributing to a mythological discourse. And yet, to completely demythologise Moses could run afoul of the ChristianRight in the United States and thereby alienate a potentially major market for the film. In this respect, trying to balance both Scott’s desire for a demythologised Moses and not
Demonising controversy in The Last Temptation of Christ and The
Passion of the Christ
attempted to stop the making of a gospel, or whether he was referring to some conspiracy theory about Hollywood being run by Jews is immaterial.
Part of the enormous cultural significance of The Passion of the Christ was its ability to become yet another symbol at the heart of the Culture War. Embracing the film symbolized the embrace of the ChristianRight’s conception of America, an America in which a deeply conservative theology could find confirmation and validation in significant elements of popular culture. (Poole 2009 : 198)
Gibson was on the side of