By J. Cheryl Exum

Exploring the interface among the Bible and picture bargains interesting possibilities for either biblical students and moviegoers alike. The 11 participants to this provocative and wide-ranging assortment deal significantly and creatively either with motion pictures in regards to the Bible and biblical characters, together with the new arguable the fervour of the Christ, and with a variety of modern motion pictures within which biblical subject matters play an important, and infrequently astonishing, position. initially released as factor 1-2 of quantity 14 (2006) of Brill's magazine Biblical Interpretation.

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5. Elsewhere Baudrillard describes this phenomenon thus: “the becoming-real, the becoming-absolutely-real, of something which until then was treated metaphorically, or had a metaphorical dimension” (Passwords [trans. C. Tuner; London: Verso, 2003], p. 27). Cf. Theodor Adorno: “Reality becomes its own ideology through the spell cast by its faithful duplication” (“The Schema of Mass Culture,” in Adorno, The Culture Industry: Selected Essays on Mass Culture [ed. J. M. Bernstein; London: Routledge, 1991], pp.

76-79. Johnson’s comments both on the limits of historical knowledge and reconstruction (pp. 81-104) and on the current sometimes ambiguous (and confusing) role of the biblical academic in society and the church (pp. 67-76) are also quite helpful for analysing the debates surrounding The Passion. On the latter aspect, related to the desire to recover the public role of the intellectual in society, see J. Michael, Anxious Intellects: Academic Professionals, Public Intellectuals, and Enlightenment Values (Durham: Duke University Press, 2000), who repeatedly notes the class differentiation that subtly enters into the debates between academics and populists.

Shtml). For a critical response to the labelling of the film as pornographic, see M. ), Jesus and Mel Gibson’s “The Passion”, pp. 2844 (34-35). Walsh (“Wrestling,” p. 02-4) compares The Passion to horror movies (see also Prothero, “Jesus Nation,” p. 273), while Susan Thistlethwaite makes the comparison with a war movie (S. Thistlethwaite, “Mel Makes a War Movie,” in Perspectives, pp. 127-45). 26 Baudrillard, Simulacra and Simulation, p. 45. THE PASSION OF THE CHRIST and its critics 25 visual imagery rather than being based on historical evidence per se.

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