Three media experts guide the serious Christian moviegoer into a theological conversation with movies in this up-to-date, readable introduction to Christian theology and film. Building on the success of Robert Johnston's Reel Spirituality, the leading textbook in the field for the past 17 years, Deep Focus helps film lovers not only watch movies critically and theologically but also see beneath the surface of their moving images. The book discusses a wide variety of classic and contemporary films and is illustrated with film stills from favorite movies.
. . Kicking off the series is Jonathan Lethem’s take on They Live, John Carpenter’s 1988 classic amalgam of deliberate B-movie, sci-fi, horror, anti-Yuppie agitprop.
This stellar work invites readers to join an ongoing conversation among some of the most cinematically literate companions one can find.
Instead of arguing distraction is bad, he instead celebrates the power of its opposite. Dividing this book into two parts, he first makes the case that in almost any profession, cultivating a deep work ethic will produce massive benefits.
What’s your damage? In 1989, Michael Lehmann’s black comedy Heathers drew a line in the sand, rebuffing the sweetness and optimism of John Hughes’ more popular fare with darkness and death.
Through Specktor’s lens, The Sting reveals itself as both an enduring human drama and a meditation on art-making itself, an ode to the necessary pleasure of being fooled at the movies.
In 1977, The Bad News Bears in Breaking Training had a moment in the sun.
Passionate and idiosyncratic, each volume of Deep Focus is long-form criticism that’s relentlessly provocative and entertaining. Christopher Sorrentino’s examination of Death Wish is the second entry in the series.
The collection culminates with reflections on nine classic painters whom the author loves. "There is absolutely no element of this collection of poems that I disliked.
Action, adventure, and mystery abound when filmmakers attempt to shoot a movie in paradise... and everything goes wrong.
This book engages with the power of film to trigger hermeneutical impulses and theological conversation stemming from resonant humanity unfolding onscreen.