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Hollywood, Christians and the American Culture Wars
Karen Patricia Heath

love. ( 2004 ) The film was troublingly violent, and yet most decisively powerful for that very reason, for it might be used as a tool for evangelising and bringing the word of God to those who truly needed to wake up out of their lethargy and see the truth, i.e. that Jesus suffered and died on the cross for the sins of humanity. For two of the most popular Christian movie websites, Gibson’s Passion was remarkable not for its success in the face of Culture Wars controversies, but rather for its Christian message. There was little sense here that either Gibson or

in The Bible onscreen in the new millennium
Clarice Greco, Mariana Marques de Lima and Tissiana Nogueira Pereira

. One of this branch’s most prominent properties is mediatised evangelisation, that is, investment in print media, radio, television and the internet. 13 In order to adapt to changes in society, the UCKG tried to break with some of the stereotypes with which it was stigmatised, such as a specific attire for the followers, no make-up or accessories; social practices such as going to the cinema or to football matches as well as watching certain TV programmes. With such ‘permissions’, a new consumership of Evangelical products, such as books and albums, was created

in The Bible onscreen in the new millennium
Abstract only
John Mundy and Glyn White

the law, and where domestic violence goes unrestrained. The transformation of Easy Street from lawless, violent bedlam, dominated by the towering drunken bully (Eric Campbell), into an orderly, law-abiding community is matched by Charlie’s own transformation from an unemployed derelict to compassionate policeman. His transformation is due less to the evangelising sermonising of the church mission than

in Laughing matters
Sarah Wright

María García Escudero appears to concur with this view, but then it becomes clear that he is writing in response to a message from Pope Pío XII to the effect that in cinema, the aim is to ‘convertir un rayo de luz en un rayo de Dios’ (convert a ray of light into a ray of divine love). Cinema, then, can have an evangelising function. Interpreting the Pope’s words ‘for Catholics’, García Escudero informs the reader that this means, ‘educar, producir’: making more good-quality films, not more religious films, and simultaneously educating the viewer into how to read films

in The child in Spanish cinema