To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
When the reformers began to use the Scripture as a critical norm to flush out biases and problems in the development of the church, the Catholic Church was prompted to reflect on the question of its own position on the authority of the Bible. The understanding of Scripture and tradition became especially apparent at the First Vatican Council of 1869/70. This Council formulated two decrees, one on the Catholic Faith and the other on the Pope. Karl Rahner formulated the idea of sacred writers before anyone had even thought of Second Vatican Council in 1958. The Council had committed itself to a reform process that would put Scripture back into the centre of the church's life and mission. Liberation theology was a significant development which arose in the wake of the Second Vatican Council.
This chapter aims to examine the portrayal of Satan in the Christ film. The discussion is divided into two parts. Since Satan comes to us with a history, the first part sets the context for the subject by reviewing relevant aspects of the representation of the Devil in scripture, the Church Fathers, tradition and folklore, art, literature and film. The second part focuses on four biblical epics or Christ films that demonstrate, in particular, the various and interesting ways that filmmakers have treated this personification of evil (Cecil B. DeMille, The King Of Kings, 1927; George Stevens, The Greatest Story Ever Told, 1965; Martin Scorsese, The Last Temptation Of Christ, 1988; and Mel Gibson, The Passion of the Christ, 2004). Note will be taken not only of how Satan is portrayed, but also of the ways in which these portrayals relate to precursor texts and traditions, on the one hand, and to contemporary understandings of evil, on the other. The key emphases and approach employed in the chapter, therefore, are related to characterization, reception history, intertextuality, social context and ideology.
Approaching the Subject Critically
Films can be explored from a number of angles. They can be approached in respect of their form, style and other aesthetic qualities: camerawork, editing, sets and mis-en-scène, visual quality, lighting, soundtrack, music and so on. Films are also interesting for their social context and ideology. They reflect the culture in which they were produced, and the audiences for which they were made.
Email your librarian or administrator to recommend adding this to your organisation's collection.