Alien Sex: The Body and Desire in Cinema and Theology by Gerard Loughlin

By Gerard Loughlin

Gerard Loughlin is without doubt one of the best theologians operating on the interface among faith and modern tradition. during this unprecedented paintings, he makes use of cinema and the movies it indicates to consider the church and the visions of hope it monitors. It discusses a number 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 old and glossy, 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 wish as erotic dispossession, as a fashion into the lifetime of God. it's written from a greatly orthodox Christian viewpoint, right now either Catholic and critical.

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Extra resources for Alien Sex: The Body and Desire in Cinema and Theology

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See Luce Irigaray, ‘The Fecundity of the Caress’, in An Ethics of Sexual Difference, translated by Carolyn Burke and Gillian C. Gill (London: Athlone Press, [1984] 1993), pp. 185–217; and Tina Chanter, Ethics of Eros: Irigaray’s Rewriting of the Philosophers (London: Routledge, 1995), ch. 5. But see also Tina Chanter’s more nuanced, searching and ‘charitable’ critique of Levinas in Time, Death, and the Feminine: Levinas with Heidegger (Stanford, CA: Stanford University Press, 2001), ch. 1 and conclusion (pp.

The Father is the vertiginous depth of Christ’s body, the dark density of his flesh, the distance that opens and draws on in his touch. When Philip asks to see the Father, Jesus is almost bewildered. ’75 For to be with Jesus is to see the Father. Has Philip not heard the paternal resonance in Jesus’ voice? ’76 To see Jesus is to see the Father; and Jesus is all there is to see. It is the very movement of the Father’s withdrawal that draws the disciple on. The Father is always arriving because always departing, as also Christ, who departs in order to return.

Levinas writes from within the tradition of phenomenology as most immediately determined by Edmund Husserl and Martin Heidegger, and inaugurated by René Descartes (see John Milbank, ‘The Soul of Reciprocity Part One: Reciprocity Refused’, Modern Theology, 17 (2001): 335–91). Though Levinas’s reflections start out from the singular consciousness, they do not – pace Milbank – succumb to the dualism of self and body inaugurated in Cartesian thought. For Levinas, consciousness is always bodily, always the sensibility of corporeality.

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