At the beginning of the 20th century, Judas was characterised in film as the epitome of evil: the villainous Jew. Film-makers cast Judas in this way because this was the Judas that audiences had come to recognize and even expect. But in the following three decades, film-makers - as a result of critical biblical study - were more circumspect about accepting the alleged historicity of the Gospel accounts. Carol A. Hebron examines the figure of Judas across film history to show how the portrayal becomes more nuanced and more significant, even to the point where Judas becomes the protagonist with a role in the film equal in importance to that of Jesus'. Hebron examines how, in these films, we begin to see a rehabilitation of the Judas character and a restoration of Judaism.
Hebron reveals two distinct theologies: 'rejection' and 'acceptance'. The Nazi Holocaust and the exposure of the horrors of genocide at the end of World War II influenced how Judaism, Jews, and Judas, were to be portrayed in film. Rehabilitating the Judas character and the Jews was necessary, and film was deemed an appropriate medium in which to begin that process.
Publisher: Bloomsbury Publishing PLC
Number of pages: 288
Weight: 445 g
Dimensions: 234 x 156 mm
This is a highly readable and more multilayered study of the evolving representation of Judas Iscariot in over a century of cinematic art than its initial premise might suggest. * Theology *
Hebron's study is of interest not just to the academic, but also to those such as ministers and preachers who engage with people in the informal learning context of the churches. Students of film and popular culture would also find much to engage them in this book ... A fascinating and engaging read. * Regent's Reviews *
Carol Hebron has brilliantly done justice to her subject. * Zeitschrift fur Neues Testament (Bloomsbury Translation) *