By Gerard Loughlin
Gerard Loughlin is among the major theologians operating on the interface among faith and modern tradition. during this extraordinary paintings, he makes use of cinema and the movies it exhibits to contemplate the church and the visions of wish it monitors. It discusses a variety of motion pictures, together with "The Alien Quartet", Christopher Nolan's "Memento", Stanley Kubrick's "2001: an area Odyssey and A Clockwork Orange", Nicolas Roeg's "The guy Who Fell to Earth" and Derek Jarman's "The Garden". It attracts on quite a lot of authors, either historical and sleek, spiritual and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to Andre Bazin and Leo Bersani. It makes use of cinema to consider the church as an ecclesiacinema, and flicks to contemplate sexual hope as erotic dispossession, as a fashion into the lifetime of God. it's written from a notably orthodox Christian point of view, without delay either Catholic and critical.
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Additional info for Alien Sex: The Body and Desire in Cinema and Theology
11–18. ASC01 09/10/2003 03:37 PM Page 1 Part I INTRODUCTION Let him kiss me with the kisses of his mouth! 2) ASC01 09/10/2003 03:37 PM Page 2 Figure 1 Reading the Body Leonard (Guy Pearce) and Natalie (Carrie-Anne Moss) in Memento (Christopher Nolan, USA 2000). Photo: British Film Institute. ASC01 09/10/2003 03:37 PM Page 3 Chapter 1 DESIRING BODIES The scene opens with a close-up of Leonard’s face, Guy Pearce’s face: stubbled, sharply boned, handsome, with bleached hair and two scratches on his left cheek.
Who is he? How did he get there? Or, finding the bed unfamiliar, how did you get here? And then you remember. But in the moment before you recall how his body came to be lying beside your own, perhaps still sleeping, you are disconcerted by his presence, by the warmth of his flesh. Even as you seek to name him, your own identity is disturbed, dislocated, for a moment undone, rendered indeterminate. The space between your bodies becomes a distance within yourself, opening between ‘consciousness’ and ‘identity’.
ASC01 09/10/2003 03:37 PM Page 3 Chapter 1 DESIRING BODIES The scene opens with a close-up of Leonard’s face, Guy Pearce’s face: stubbled, sharply boned, handsome, with bleached hair and two scratches on his left cheek. 1 We hear his thoughts as he pulls them together, out of sleep. ’ An observation and a question, as if he had to name the experience of awakening in order to imagine and remember it as his own experience. And indeed, forgetting and imagining is Leonard’s constant condition in Christopher Nolan’s film noir, Memento (USA 2000).
Alien Sex: The Body and Desire in Cinema and Theology by Gerard Loughlin