The Patient Body: Tending to One Another
“The Patient Body” is a monthly column by Ann Neumann about issues at the intersection of religion and medicine. Continue Reading →
a review of religion and media
“The Patient Body” is a monthly column by Ann Neumann about issues at the intersection of religion and medicine. Continue Reading →
A round-up of recent religion and media stories in the news. Continue Reading →
A round-up of recent religion and media stories in the news. Continue Reading →
Ethan Poe on what’s truly provocative about Lars von Trier’s new film “Nymphomaniac” — its psychological theology. Continue Reading →
Competing claims about religion and the future of the planet on board Noah’s Ark by Brook Wilensky-Lanford. Continue Reading →
David Morgan gives us a picture of what’s really going on with literalist objections to the new movie “Noah.” Continue Reading →
A review of The World Before Her, now showing in the Tribeca Film Festival.
by Natasha Raheja
The opening sequence of director Nisha Pahuja’s documentary The World Before Her cuts sharply between salwar kameez and swimsuits, Marathi and English, Bombay and Aurangabad, stilettos and chappals, open hair and plaits, bhangra beats and nationalistic hymns, saffron and skin. At first glance, these images serve to contrast tradition and modernity. As the film proceeds, though, Pahuja seems to be weaving a more subtle story as she tracks the process of two different camps for young Indian women: the month long “beauty boot camp” for the twenty Miss India Pageant finalists, who are taught to walk, to speak, to dress, to display themselves for stage and cameras; and the Hindu nationalist Durga Vahini camp for adolescent girls, who are likewise trained but according to a quite different set of norms. The film asks, how are both paradigms in all of their glory equally dignifying and disempowering for the women they subsume? Does modernity occur respectively or irrespective of tradition?
In its exploration of these questions, the film enters two ostensibly opposed worlds that culminate in beauty pageants and supermodels on the one hand and political rallies and powerful female purveyors of Hindutva (a concept meaning loosely “Hinduness” and championed by various Hindu nationalist organizations) on the other. One set of women submit to botoxing, skin bleaching and instructions for losing weight and fitting into bikinis, while the other set, also upon command, run in fields in preparation for the full defense of their religion against foreigners, Christians and Muslims—by violence if necessary—and submit to vicious exhortations about the false promises of careers and feminism. The camps emerge as comparable institutionalized modes for the training and cultivating of young Indian women as competent subjects, despite the differences in how that subjecthood is defined. Continue Reading →
Nora Connor: We’ve been watching PBS’s “Women, War and Peace.” Less a series than a grouping of thematically linked films, it takes women’s experiences, roles and concerns as the starting point for an examination of contemporary war, from on-the-ground experiences of privation and violence to the legal remove of places like the Hague. The project aims to place women “at the center of an urgent dialogue about conflict and security.” This narrative priority infuses the films with a sober tone, insulating them from the creeping adventurism that infects even some of the most politically anti-war visual journalism (although, ironically, the film probably would not have been possible without footage produced in service of exactly that type of adrenaline-fueled glamour enterprise, known in British circles as “bang-bang” journalism). Continue Reading →
Nora Connor: We’ve been watching PBS’s “Women, War and Peace.” Less a series than a grouping of thematically linked films, it takes women’s experiences, roles and concerns as the starting point for an examination of contemporary war, from on-the-ground experiences of privation and violence to the legal remove of places like the Hague. The project aims to place women “at the center of an urgent dialogue about conflict and security.” This narrative priority infuses the films with a sober tone, insulating them from the creeping adventurism that infects even some of the most politically anti-war visual journalism (although, ironically, the film probably would not have been possible without footage produced in service of exactly that type of adrenaline-fueled glamour enterprise, known in British circles as “bang-bang” journalism). Continue Reading →
From Genevieve Yue’s “That Old Time Religion” at Reverse Shot:
In 1799, Étienne-Gaspard Robertson premiered the phantasmagoria, a moving magic lantern projection hidden behind a screen, to a crowded audience gathered at a Parisian convent. Though he tried to present himself as a scientist exposing the tricks of the trade (of both magicians and the Church) to foster superstitious belief, the wildly spectacular nature of his performance, with its ghoulishly materializing and receding figures, only confirmed his status as supernatural conjurer. Robertson’s entertainment was like all horror stories that begin in skepticism: thrill and fright trump our sense of knowing better. Time and again we see teenagers challenging each other to spend a night in a haunted house, sociologists investigating urban legends, or film students setting out into the forest to prove there isn’t anything out there. In these narratives of dare and debunking, science always loses, its certainty shaken in the presence of the unknown.