Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
How religious figures are depicted in films
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: How religious figures are depicted in films
Liam Kapples
Mr. Piazza
3 April 2018
Essay
The Question of Faith Oftentimes, whether intentional or not, a film can reflect the beliefs and opinions of those who create it. Ingmar Bergman’s “The Seventh Seal” reflects Bergman’s lifelong struggle with the existence of God. While the film is nearly 60 years old, the questions and topics it addresses are timeless. Why do bad things happen? What is the best way to live? Can we believe in God? The movie addresses these questions head on through the depiction of Antonius Block, and furthermore, serves as a critique of faith in general. Antonius is a man who has lost faith in God, and is seeking an alternate meaning in life. His interactions with the personification of Death allow viewers to directly
…show more content…
Yet at the same time, Bergman also argues that people will never stop in their pursuit of obtaining this knowledge and achieving peace within. So, one may ask, what is the best way to achieve this peace? What is the best way to alleviate this desire within? Again, Bergman answers this question through the portrayal of his protagonist, Antonius Block, as well as the minor characters of Jof and his family. In one scene of the film, after an incident at the public house of the town, Block, his squire, Jof, and Mia come together for a picnic. The picnic consists of simple foods, milk and strawberries. It is evident through Block’s change in attitude that his spirits are lifted. During the picnic, he seemingly forgets about his lifelong struggle, faith, and God. Through his struggle with the existence of God, Block decided one thing: he was going to do his best to complete at least one meaningful act in life before his death. Eventually, he finds the perfect opportunity to do just that. During a game of chess with the personification of Death, Block noticies Jof and his family in danger. Block intentionally knocks over the chess pieces, causing them to fall onto the ground. Thus serving as a distraction, and allowing Jof and his family to escape, unbeknownst to Death. After the pieces are collected and arranged back onto the chess board, Block tells Death that he has completed the one meaningful act in his life that he wished to complete. Block’s spirit is lifted, and if for not more than a split second, has satisfied his inner agitation. These two events have one thing in common- In both, block’s spirits are lifted and he is satisfied with himself. In these two events lie Bergman’s argument surrounding the best way to live. Life, Bergman argues, is to be lived not through God and faith, but instead
In the midst of all troubles, it is effortless to complace the value of our life with the hardship that is faced. In both “Hamlet” by William Shakespeare and “Roger Ebert: The Essential Man” by Chris Jones, we read that both main characters go through life changing events. Through both journeys we promptly learn that the value of life is not controlled by setbacks we face but the motives we withhold while going through the process.
To elaborate on the thesis, one way the director delivers his message to the viewers is through the characters. The main character Graham lost his faith in God and resigned as a priest. He didn’t believe in God anymore and continued to ignore signs and live in disbelief. This was so because when
In summary, it is the moment after Harold’s apartment is unexpectedly demolished by the crane that makes Harold realize he is not in control of his own destiny. This particular incident causes Harold’s transformation into an individual with an attitude of living his life to the fullest by causing him to start actualizing his life dream of playing a guitar, to start pursuing Ana who is of different worlds than him using irrational methods, and finally to drop the apple symbolizing the completion of his transformation. In the movie Stranger than Fiction, the author uses an unwilling turning point to start Harold’s transformation into someone with an attitude to live life to its fullest. Arts come from life. Were we to apply the message in this movie to real life, we can benefit.
Unsurprisingly, the narrator finds comfort in trying to understand his environment and fate. He measures the room carefully because he wants to make sense out of his situation in order to ease his mind. His captivity is unpredictable and he never knows what is going and is totally unaware of his surroundings. However, he knows sooner or later that he is going to die. Upon receiving his death sentence, the narrator loses consciousness. When he awakes, he is in complete darkness. He is confused ...
...icism has such a profound affect on the townspeople’s beliefs; they are unable to look past the appearance of the old man and realize that he is divine. Instead of enhancing the faith of the society, religion has destroyed it.
Relevant symbols are abounding in this story, from setting to names to objects. The dim room that the five occupy is a symbol of death, the death that they will soon face. Complete with dust, cobwebs and a skeleton, the description of the room is more like that of a mausoleum, instead of the good Dr.’s study. The oak bookcases are reminiscent of the wood that will create their coffins. More peculiar is the large black folio. The folio is a scrapbook that represents Dr. Heidegger’s life. We all have a folio. It is that glimpse of our own lives, that flash we see briefly but completely right before our eyes when faced with the unexpected reality of our own death. God sees this folio also, but in a manner more thoroughly than we would. In this sense Dr. Heidegger symbolizes God. But is Heidegger in fact playing God by giving these poor souls this elixir of life?
(359). He uses the seventh room to symbolize the final stage of life, death. He sees the black
The film Signs, directed by M. Night Shyamalan, revolves around the topic of religion and faith. The protagonist’s faith is put to question as he has to overcome his wife’s death, family problems, and an alien invasion. Graham had to be able to trust in his religion once more to save his family from aliens, as he must trust the signs that he sees. These signs put Graham’s faith to the test, as he must believe that everything has a plan. Graham must be able to see the big picture to survive not only the aliens, but also his own grief. Graham sees are miracles put there by a higher power so the Hess family could survive.
The knight Antonius Block is the first of the characters to come across death. In the opening sequence, Death appears to Block in the form of man dressed in black. He tells the knight that his time has come and asks if Block is ready. To this question, Block responds, "My body is frightened, but I am not" (Bergman). Despite this gallant rejoinder, Block deftly postpones his demise by challenging the grim figure to a game of chess. At this point, the only clue to his rationale for dodging death lies in his frustrated attempt at prayer earlier in the scene. Bergman fully develops the knight's dilemma in a future sequence: in this critical scene, Block converses with Death dressed as a priest. Block passionately reveals that he seeks the knowledge of God's presence in life. The dialogue highlights the problems Block finds with the belief system of his era and introduces the Heideggerian aspect of his character.
The film I chose to focus upon for the purposes of this reflection paper is titled What Dreams May Come. I have considered this piece to be my favorite since I first came upon it more than ten years ago, and was pleased to be assigned the responsibility of identifying conflict; as I had not realized that this content existed prior to the completion of this assignment. I had always highlighted the cinematography, emotional attachment of the characters, and progressive ideation of the afterlife when reflecting upon the film. I still value these attributes, though now I am more able to understand that the impetus for the characters’ closeness is often rooted in their ability to properly address conflict.
... specify, but there has to be something since he refers to a dead physical body of an important person having meaning.
take place around him that leads up to his death. Several approaches have been taken to analyze
The author’s writing about identity, for instance when Coleman hides his secret that he is from a black family and changes his identity into Jewish, makes each reader ask questions about their own identities and the elements that affect the recreation of the identities. Coleman explains to his mother that he is leaving his family and he plans to marry a white woman. When Coleman refuses his mother, because she is black, the author has made one of the most hurting scenes in all his work.... ... middle of paper ...
Throughout the cinema of Bergman, the ticking of a clock has become a violent reminder of one’s own mortality. The ticking suddenly stops as the film cut from the credits to the face of the boy, Johan. This cut from Bergman’s morbid leitmotif – the clock – to the youthful face of Johan, in diegetic silence, creates a striking contrast. Bergman juxtaposes several ideas: life against death, a boy of youth against darkness and time; faith against knowledge, unexplained sound against a proven silence; understanding against ignorance, written words against a boy without a fully developed understanding of language. This single cut presents a throng of interpretations, and each may be equally valid. Silence is pure and unchanging, therefore it can be replicated and become associated with specific themes; however, unlike other audio-visual events, it is natural and requires no
Frost’s poem leaves the reader enlightened on the speaker’s outlook on death. “Ghost House” is an evolution through both the reader’s mood and the speaker’s tone surrounding death. Frost accomplishes this in his signature style and voice with clever word choice, from the morbid beginning to the accepting and almost willing end.