Journal: Southeastern Theological Review
Volume: STR 12:2 (Fall 2021)
Article: Postsecular Scriptures: The Bible On Film In The 21st Century
Author: Caleb Spencer

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Postsecular Scriptures: The Bible On Film In The 21st Century

Caleb Spencer

Azusa Pacific University

Jack O’Briant

Loyola University Chicago

Abstract: “Postsecular Scriptures” attempts to show what postsecular biblical film adaptation looks like by suggesting that three films (Last Days in the Desert, Tree of Life, and Calvary) that have been recognized as of religious interest are also postsecular adaptations of the Bible. Looking briefly at what we mean (and don’t mean) by “postsecular” and “adaptation” will help us to see how these are adaptations in a postsecular guise. More specifically we will argue that these films in their postsecular guise produce exemplary representations of doubt and near exhaustion of faith (pistis—trust) only to conclude with a recuperation of trust/faith that is shown in the films’ concluding trajectories. As such these are not just postsecular adaptations, but at their root, they are, we will argue, best understood as postsecular kerygma; they are postsecular proclamations of the kenotic logic of the gospel proclamation of Jesus the Crucified coupled with an insistence upon the hope of the resurrection. Each film also suggests that the way of grace, which we increasingly see is the way of trust, creates conditions in which no matter what the end (even in suffering, crucifixion, and death), the person comes to a good end. If these films are not just biblical adaptations but postsecular ones, then we will suggest we may need to refine and revise our conception of the postsecular.

Key Words: Calvary, film adaptation, John Michael McDonagh, Last Days in the Desert, postsecular, religion and film, Rodrigo Garcia, Terrence Malick, Tree of Life

Introduction: The Bible And Literature

A film opens with a black screen; next, a slide reminiscent of a silent film with the text of Job 38:4, 7 in white, simple letters, and quickly there follows a flickering flame. The flame lingers then slowly disappears. This opening sequence alerts the viewer, from the epigraph on, that the film Tree of Life is intertextually linked to the Bible. Indeed, from the text of

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Job to the appearance of the flame to the film’s conclusion with the same flame—an image of heat and light, presence, culture, and care—Tree of Life is drenched in biblical images, themes, discussions, and challenges. But while it begins with the Bible, should we think of such a film as an adaptation? If so, what kind of adaptation?

In this special issue of STR