The Spirit is Willing, but the Flesh is Weak: Embodied Transcendence and Sacred Spectatorship in The Robe (1953)

In this paper, I argue that the reintroduction of widescreen technology with the release of Fox's The Robe in 1953 promised spectators the ability to encounter—through powerful, embodied immersion—the moment when historical time reached its fulfillment at Christ's death. However, the fact...

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Bibliographic Details
Main Author: West, Thomas J. (Author)
Format: Electronic Article
Language:English
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Published: Taylor & Francis [2019]
In: Material religion
Year: 2019, Volume: 15, Issue: 3, Pages: 347-368
Standardized Subjects / Keyword chains:B The Robe (Film) / Transcendence / Temporality
Further subjects:B Epic
B CinemaScope
B widescreen
B Embodiment
B Temporality
B Affect
Online Access: Volltext (Resolving-System)
Description
Summary:In this paper, I argue that the reintroduction of widescreen technology with the release of Fox's The Robe in 1953 promised spectators the ability to encounter—through powerful, embodied immersion—the moment when historical time reached its fulfillment at Christ's death. However, the fact that the material world continues to move inevitably forward makes it impossible to fully experience the escape from the material world that he represents. As such, the widescreen epic forces a confrontation with the very awareness of living in the stream of historical temporality from which it supposedly offers an escape, providing a deeply conflicted experience of time and history.
ISSN:1751-8342
Contains:Enthalten in: Material religion
Persistent identifiers:DOI: 10.1080/17432200.2019.1607058