Holy Fool in European Cinema

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A01=Alina G. Birzache
Andrei Rublev
Andrei Tarkovsky
Author_Alina G. Birzache
Carl Theodor Dreyer
Carl-Th. Dreyer
Category=AB
Category=ATFA
Category=QR
Category=QRA
Category=QRM
Catholic
Catholicism
cinematic character analysis
Contemporary Society
Corinthians
Country Priest
Danish Cinema
Danish Lutheran Church
Dogme 95
Dogme 95 movement
Dogme Films
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
European Christianity
European religious traditions
Existential Philosophy
French Cinema
Holy Fool
holy foolishness
Idiot Figure
iurodiviy
Jolyon Mitchell
Kristian Levring
Lars von Trier
Nietzsche's Madman
Orthodox
Orthodox Catholic Protestant comparison
Orthodoxy
Pascal's Wager
Pascal’s Wager
Pavel Lungin
Prince Myshkin
Protestant
Protestantism
religion and film
religious critique in modern cinema
Richard III
Rob Johnston
Robert Bresson
Russian Symphony
secularization studies
Simple Heart
St. Francis
Tarkovsky
Von Balthasar
Von Trier
Young Men

Product details

  • ISBN 9781138368583
  • Weight: 430g
  • Dimensions: 152 x 229mm
  • Publication Date: 10 Aug 2018
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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This monograph explores the way that the profile and the critical functions of the holy fool have developed in European cinema, allowing this traditional figure to capture the imagination of new generations in an age of religious pluralism and secularization. Alina Birzache traces the cultural origins of the figure of the holy fool across a variety of European traditions. In so doing, she examines the critical functions of the holy fool as well as how filmmakers have used the figure to respond to and critique aspects of the modern world. Using a comparative approach, this study for the first time offers a comprehensive explanation of the enduring appeal of this protean and fascinating cinematic character. Birzache examines the trope of holy foolishness in Soviet and post-Soviet cinema, French cinema, and Danish cinema, corresponding broadly to and permitting analysis of the three main orientations in European Christianity: Orthodox, Catholic, and Protestant. This study will be of keen interest to scholars of religion and film, European cinema, and comparative religion.

Alina G. Birzache was an assistant lecturer at the Faculty of Orthodox Theology in Bucharest before she moved to the United Kingdom where she obtained a PhD from the University of Edinburgh. She has interests in religious representations in art, literature and film and has published on these topics.

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