Posts tagged with: Entertainment/Culture

noahAdmittedly, this writer attended a viewing of Noah last week with trepidation. A March 17 New Yorker profile on director Darren Aronofsky gave good cause for suspicion the film would be yet another Hollywood environmentalist screed wherein humanity is depicted as a cancer on God’s creation. Instead, the film (largely) avoids such proclamations in favor of some pretty intense – make that very intense – family psychodrama and a spun-from-whole-cloth story involving Watchers, clan rivalry and allusions to other Old Testament stories.

Before the first fistful of popcorn, Aronofsky provides a decent CliffsNotes version of Genesis. The filmmaker deftly avoids religious controversy until depicting Cain’s wickedness as not only manifested by the slaying of his brother Abel but — much worse by Hollywood standards — his  subsequent career as an “industrialist.” About here I’m thinking, “Oh, boy, we’re in for a slog.”

Described by Aronofsky as “a fantasy film taking place in a mythical quasi-Biblical world” and “the least Biblical Biblical film ever made,” Noah takes great liberties in its re-imagining of the Great Flood and the eventual reboot of humanity. Whereas other artists focused on Noah obsessing over the building of the Ark, Aronofsky depicts Noah (Russell Crowe) as a man clearly in communication with the “Creator” but – just as clearly – somehow getting his prophetic lines crossed as to what exactly his mission entails after the deluge. (more…)

Fighting off entrepreneurs! Taking on any threat to their power! Collect ‘em all!

Blog author: jballor
posted by on Tuesday, January 7, 2014

You may have heard that Ayn Rand really disliked C.S. Lewis. But do you know what happened when Saul Bellow met Whittaker Chambers?
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I certainly like where Dr. Calder ends up, but I’m not quite so sure about the argumentation he uses to get there. This short video is worth checking out: “Breaking the Power of Money” (HT: ESN blog).

Breaking the Power of Money – Dr. Lendol Calder from InterVarsity twentyonehundred on Vimeo.

Is it because students have unconsciously divinized money that they can’t bring themselves to tear a dollar bill in half? Or is there an implicit bias against the seemingly purposeless destruction of value? Perhaps they need some convincing that destroying dollar bills is an exercise in good stewardship.

Money is something powerful, that’s for sure. And the love of it is the source of all kinds of evil. So the challenge is to keep our loves for temporal goods, including money, ordinate. As Calder puts it, we do that not by destroying money, but by putting it to responsible use. Maybe that’s “profaning” money in the sense that we are taking away the purported and idolatrous divinity we ascribe to it. But maybe that’s also by “redeeming” money for godly use.

Blog author: jballor
posted by on Friday, December 27, 2013

Humiliations GaloreThis year marks the fortieth anniversary of the publication of William Goldman’s The Princess Bride, and over at The University Bookman I have written up some thoughts on the modern classic, “As You Wish: True (Self-)Love and The Princess Bride.”

Those familiar with the story know that the tale develops around the conflict between Prince Humperdinck and Westley (aka The Dread Pirate Roberts) over Buttercup, the most beautiful woman in Florin. I frame my piece with the confrontation between another prince and another pirate, an encounter which Augustine famously relates in his City of God. As Augustine writes, Alexander the Great rebukes a captured pirate for his crimes, only to hear the pirate’s retort tu quoque.

In “The Use of Alexander the Great in Augustine’s City of God,” Brian Harding describes Alexander’s “restless ambition for further conquests and power,” which leads him “to search constantly for new lands to conquer; in the same way the pirate captain is always on the look-out for merchant ships which he can harass.” Similarly Humperdinck’s constant competitive drive and lust for power are exemplified in his hunting prowess and his designs to conquer Guilder. He is a prince who would be emperor.
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Acton Institute President Rev. Robert A. Sirico joined guest host Eric Bolling on Your World with Neil Cavuto on the Fox News Channel on Christmas Eve to discuss the latest Hollywood blockbuster, “The Wolf of Wall Street,” as well as the recent phenomenon of “Tips for Jesus.”

Blog author: johnteevan
posted by on Tuesday, December 17, 2013

Artemisia tridentata wyomingensis (5042178398)When we think of our freedoms and how they are basic to our society yet freedoms seem to be out of control in so many ways since the 1960s, we probably need to pull back and consider those freedoms from a new perspective. So let’s consider playing the piano. I am free to play the piano in that pianos are available, piano teachers are available, and there is no regulation or social stigma that prevents me from acquiring or learning the piano.

I have liberty when it comes to pianos. However, I am not currently free to play the piano well nor can I demonstrate any such ability nor can I know the joys of learning, memorizing, and playing a piece such as I heard at a Second Sunday concert this month. I have two liberties here: the freedom to acquire a piano and the freedom to do the hard work of learning to play it well. I must not confuse the two liberties.

As for American freedoms I must not think that because I have the liberty to get a job I should be paid as if I were already trained and experienced or just because I have endless freedoms in moral areas that I can choose any path and still have satisfying relationships at home, with friends, or at work.

By the way: almost 80% of 493,000 pianos made in 2012 were low-end Chinese ones. Chopin and Debussy’s pianos were made by Pleyel a French company that is going out of business this month.

PovertyCure- DR 2PovertyCure is an international network of organizations and individuals seeking to ground the common battle against global poverty in a proper understanding of the human person and society, and to encourage solutions that foster opportunity and unleash the entrepreneurial spirit that already fills the developing world. (more…)

Blog author: jballor
posted by on Tuesday, November 26, 2013

hunger-games-catching-fire-extended-tv-spotTomorrow I’ll be offering up a more extensive commentary on the second movie of the Hunger Games trilogy, “Catching Fire.” Until then, you can read Dylan Pahman’s engagement on the theme of tyranny, as well as that of Alissa Wilkinson over at CT. I’ll be critiquing Wilkinson’s perspective in my own review tomorrow. I think her analysis starts off strong, but she ends up getting distracted by, well, the distractions. But I commend her piece to your review, and in the meantime I’ll also offer a couple of notes on the film.

The film version doesn’t depart much from the source material, which is always a good thing when you have a strong source material. There is some streamlining of the plot and things are condensed a bit, but this is no doubt necessary to fit everything of relevance in to a 2.5 hour film.

One of the nice things that they do in the films is to show things that happen “off stage,” so to speak, in the books, which are presented from Katniss’ perspective. In this way, we can find out some things that Katniss doesn’t know, and some more texture is added to the narrative. In “Catching Fire,” the theme of hope flares up again, as it did in the first Hunger Games.

In an exchange between President Snow and Plutarch Heavensbee, the Head Gamemaker argues for more explicit brutality contrasted with puff-piece entertainment to bring the rabble in the districts in line. Snow expresses doubt, noting that “fear” only works to oppress “when there is no hope.” As long as Katniss is alive, the people have hope. Heavensbee persuades Snow, and in doing so deceives him, hoping to further foment revolt with such tactics.

But as I’ve also observed with before, the hope offered in the Hunger Games really is just a temporal hope. The bread that people seek really is literal bread. There is little in the way of spiritual nourishment offered to anyone in the films, despite the sometimes heavy-handed religious imagery. “Bread first, then ethics” remains the motto of life in Panem.

Oh, and Heavensbee also drops a plug for my book when, in the midst of the Quarter Quell, he exhorts Katniss to “get her hands dirty” a bit.

Blog author: dpahman
posted by on Thursday, November 21, 2013

Today at Ethika Politika, Elyse Buffenbarger weighs in on violence and voyeurism in The Hunger Games:

Flipping between reality television and footage of the war in Iraq, Susan Collins was inspired to pen The Hunger Games. The dystopian young adult trilogy has been a runaway success both of page and screen: book sales number in the tens of millions, and in 2012, the first film took in nearly $700 million worldwide. (The next film, Catching Fire, releases tomorrow.)

Initially, I resisted the books for fear they were too violent — but then, at the urging of friends, family, and coworkers (all of whom I believed to have respectable taste), I devoured them in a weekend, and my husband did the same. The Hunger Games are literary alchemy, a breathless amalgam of all the tropes I loved as a child: romance, survival, and the poster child for strong female protagonists, Katniss Everdeen. When the first film came out, my husband and I rushed to the multiplex.

Collins’ trilogy provides, at turns, masterful commentary on class disparity and violent voyeurism: Katniss and her companions excoriate the citizens of the Capitol for their decadence and rabid consumption of the Games. (Their disdain was contagious: for weeks after reading the books, I found myself asking, “Would someone from the Capitol do this?” before doing or saying anything.)

But while watching the films, my husband and I felt uneasy. This discomfort ran deeper than the typical distaste any reader feels when watching a beloved book adapted for the screen. Watching children slaughter each other was very different than reading about it.

Her concerns immediately reminded me of St. Augustine’s critique of cathartic entertainment in his Confessions: (more…)