Recently, a spate of publications on the relation between cinema and religion reignited a conversation that seemed forgotten, after the grand Hollywood biblical epics of the 1950s and early 1960s. The conversation had started with Parker Tyler’s book Magic and Myth of the Movies (1947) and the psychologist Carl Gustav Jung, and was later continued with Siegfried Kracauer’s Theory of Film bearing the indicative subtitle The Redemption of Physical Reality (1960); ultimately it found its more astute articulation in Paul Schrader’s Transcendental Style in Film (1972).
Although religion as the ultimate urgrund of signification, especially through the Neo-Thomist aesthetical views on speculum mentis, underpins the theories of a staunch realist like Andrè Bazin, no systematic discussion was ever undertaken about this complex issue. Yet even in the most atheistic period of the Soviet state, Sergei Eisenstein managed to infuse his Ivan the Terrible (1944), especially the second part (1958), with Christian iconography, as he abandoned the epic cinema of his early experiments and tried to develop his central character and his psychology over time. Religious semantics found always their way into the symbolic universe of many films, even if these films totally rejected the religious tradition that had formed them. ... More