Panels Schedule

Friday 9 – 10:40 a.m. (3)

Panel 1

  • Reinhartz, Religion, Body and Place in Félix et Meira (Quebec, 2014)
  • Shenker, That made me a woman: On body and gender representations in Israel’s religious-community films-making
  • Pham, Church, Sex, and the LGBT Bildungsroman: A Critique of Narrative Mediocrity in Henry Gamble’s Birthday Party
  • Silverman, Primitivism, Kabbalah, and James Cameron’s Avatar: Mythic Redemption on Planet Pandora

Panel 2

  • Powell, “The Beginning Ends, the End Begins”: Religion and Subversive Filmmaking in Jean Renoir’s The River (1951)
  • Arafa, Egyptian Cinema and Representation of Islam Amidst Caricatures of Modernity
  • Lagasse, Reconstructing the Hindu Household, or the Postmodern Politics of Indian Cinema in English
  • Nag, Dedicated to Gods, Possessed by Spirits: Documenting Religion and Women

Panel 3

  • Schweigert, From the Propositional to the Relational: Religion and the Films of Caveh Zahedi
  • Dias Branco, Divinely Human: Robert Bresson’s Spiritual Reflections
  • Kickasola, Engagement and Transformation: Poetic Documentary and the Contours of Religious Experience

Friday 11 – 12:40 (2)

Panel 1

  • Blizek, The Expected Places of Religion, Communities, and Institutions
  • Sharper, When Hollywood Goes to War, Does Religion Follow: A Look at the “Enlistment” of Religious Discourse in Selected US World War Two Films
  • Carter-Chand, The Fragility of Goodness and Corruption: The Salvation Army in 20th Century Film
  • Gomez-Morales, Reading Mi Pequeño Angelito (Home Alone) Film through Hispanic Eyes

Panel 2

  • Goodwin, “Surely the LORD is in this Movie Theater”: Transcending Place Through Montage
  • Gunawan, The Concept of Beauty: Jesus Films Before and After 1968
  • Deweese-Boyd, Scorsese’s Silence: Film as Practical Theodicy

Friday 2 – 3:40 (2)

Panel 1

  • Bakshi, Hindu customs, conservation and violence: Female sexuality and caste in Aparna Sen’s Sati and Goutam Ghose’s Antarjali Jatra
  • Mahmoud, Professional Interlopers: Religion and Professional Women in Egyptian Cinema Classics
  • Dasgupta, Negotiating ‘Home’ and its ‘other’ in Aparna Sen’s 36, Chowringhee Lane: A representation of an ‘in-between’ Indian Christian lady

Panel 2

  • Yaccobi, A Shtetel in Minnesota: Archaic Ontology in the Cinema of the Coen Brothers
  • West, The Spirit is Willing, but the Flesh is Weak: Embodiment, Transcendence, and Sacro-Historical Spectatorship in the Historico-Biblical Epic
  • Choe, Religion on Screen: Haunting Memories and Surviving Images in Park Chan-kyong and Apochatpong Weerasethakul’s Films
  • Wagner, “Carrying the Fire”: Post-Apocalyptic Imagination in Cormac McCarthy’s Novel The Road and its Filmic Adaptation

Saturday 8:30 – 10:10 (3)

Panel 1

  • Alderman, “Another Time and Another Place”: Apocalyptic Elements in Pan’s Labyrinth
  • Norden, Religious Perspectives in Hammer’s Early Dracula Films
  • Shafiq, Religion in Bollywood Horror

Panel 2

  • Cochran, “A lot of midgets tend to kill themselves”: Strange Bodies and Sacramentality in Martin McDonagh’s In Bruges
  • Rothschild, Looking at periodic social prohibitions through films that are re-telling a man-creation story
  • Roubach, Body, Memory and Redemption: The Diving Bell and The Butterfly

Panel 3

  • Cowans, Breaking the Habit: The Decline of ‘Missionary Film’ in the Decolonization Era, 1958-1966
  • Van Hell, Of Gods and Men: the place of a monastery in Des Hommes and Des Dieux and its impact on viewers
  • Chaness, Inflammatory Indigenous Images: Playing Indian and Staying Indian in James Cameron’s Avatar
  • Angeles, Philippine Muslim Women on Film

Saturday 10:25 – 12 (2)

Panel 1

  • Alimi, Michael Haneke’s Liberal Critique of Religion, and a Kierkegaardian Reply
  • Steele, Everywhere and Nowhere: Process Theology in Terrence Malick’s The Tree of Life
  • Scalia, The Art of Movie-going: The Screened World of Walker Percy’s The Moviegoer

Panel 2

  • Petersen, Intercultural Cinema and American Muslim Filmmaking
  • Bazzano, Wadjda for Westerners: Combatting Stereotypes about Islam through a Subversive Saudi Drama
  • Cheref, “Men never do evil so completely and cheerfully as when they do it from a religious conviction”: A Comparative Study of Submission (2004) by Theo van Gogh and Of Gods and Men (2010) by Xavier Beauvois
  • Goodwin, “I Can Take Your Eyes”: Gender and Surveillance in A Girl Walks Home Alone at Night
Rebecca Moody