As a kind of treat for our hard working students, this term we engaged in an experiment in Torrey. Could we relate a set of great texts to a series of low-brow and high-brow film explorations of the “hero and savior?”
Could we con a group of students into doing more primary source reading and 1/3 more time in class at the end of their program if we also discussed Star Wars? (”Look folks, this is not really Plato. It is all about the Force!” What a great educational Jeddi Mind Trick!)
Key questions:
What is the meaning of the terms “high-brow” and “low-brow”?
What is the relationship between “pop” and “canonical” culture?
What role does myth play in developing any culture?
What are the key national myths in the United States?
What is a hero?
What is a savior?
Can there be a hero in the dialectic?
Bottom line: for the Biblical Christian what is our relationship to myth and how should we relate to the American story?
After 1,500 pages of reading (from the Bible to Plato to Lewis to Tolkien to graphic novels), the class viewed films before our normal discussion. This discussion culminated in thirty-two hours of further discussion (in addition to normal class time) on Socrates as hero using Symposium and several texts by Xenophon as our basis for further discussion with, well, the Yoda of Torrey: Al Geier.
But you want to know what movies you should have watched . . . you already know you need Plato . . . so let’s strip out all the hard work and leave the treats.
Here is some of the key films from the list (with a brief comment not from the class, but with a blog audience in mind and with apologies to students whose favorites were left off):
Week 1: “This Is No Fantasy . . . “
Lady in the Water (M. Night Shyamalan, 2006, PG-13, 110 mins)
Under rated exploration of the power of story. What is our role in the “story” we are in? Is there a story (as Christians believe) or is there no real meta-narrative?
The Island (Michael Bay, 2005, PG-13, 136 mins)
What is a human? What creates a hero in a culture of death?
Look, Up in the Sky: The Amazing Story of Superman (Kevin Burns, 2006, 115 mins)
Superman is an American icon . . . one of the most enduring pop culture heroes. Why? Is he savior, Christ-figure, or hero? What is the relationship?
Week 2: “My Only Son”
Superman (Richard Donner, 1978, PG, 151 mins)
A retelling of the Superman myth . . . how did the story shift from the 1950’s?
“The Adventures of Superman” (Superman on Earth 1.01; 25 mins)
Televisions first great Superman. How did it reflect 1950’s values? How did it shape them? What are the effects of the disappearance of “whole family” entertainment for niche marketing? How many “fathers” does Superman have?
“Superman: The Animated Series” (The Last Son of Krypton – Part 1 1.01; 22 mins)
Animation is changing for “kiddie stuff” to the late night adult oriented animation of Cartoon Network. This series is an important transition. How does it view Superman? How did each decade develop a different Man of Steel?
Star Wars: Episode I – The Phantom Menace (George Lucas, 1999, PG, 133 mins)
Star War was a pop-culture myth of the last two decades. How did the revival change the role of Darth Vader in the first three (chronological order) films? What is a villain? What is a hero? Does a good hero need a villain to be a hero? What is the relationship between a culture and its myths? Do some take fictional characters more seriously than people?
Week 3: “You Have Great Powers”
“Smallville” (Pilot 1.01; 50 mins)
A new small screen Superman tells more of the “back story” to the iconic figure. What is common to all the re-tellings? Is there a core to the Superman myth? What does that tell us about the adaptability of the myth? What is the role of power in the story?
Star Wars: Episode II — Attack of the Clones (George Lucas, 2002, PG, 142 mins)
As the story arc grows darker power becomes a bigger and bigger issue as does the relationship between fathers and sons . . .
Star Wars (George Lucas, 1977, PG, 125 mins)
The seminal film begins the worry about the “father” and the “son.” Is there a hero-role for the “tutor”? (Is Obiwan a hero in this film?)
The Incredibles (Brad Bird, 2004, PG, 115 mins)
One of the best of the new golden age of animation. Think about parents and children and power in this film!
Spider-Man (Sam Raimi, 2002, PG-13, 121 mins)
Nobody misses the main point: with great power comes great responsibility. Part of that: what the responsibility of a son to his “father?”
“Superman: The Animated Series” (The Last Son of Krypton – Part 2 1.02; 22 mins)
What does Superman owe Krypton? Is there a role for “folk” in understanding identity or does this always degenerate into tribalism or jingoism?
Week 4: “You Are Here for a Reason”
Unbreakable (M. Night Shyamalan, 2000, PG-13, 106 mins)
Is there a “hero” in this film? Who? What is the relationship between “a gift” and what we are?
Batman Begins (Christopher Nolan, 2005, PG-13, 140 mins)
Is Batman a hero, tyrant (see Alcibiades), or rogue vigilante? When can a man take the law in his own hand to save the law? Does that destroy the law?
The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001, PG-13, 178 mins)
What is the (surprising) relationship between gift and calling in this film?
Week 5: “I Offer You A Chance for Greatness!”
Superman II (Richard Lester, 1980, PG, 127 mins)
Superman II: The Richard Donner Cut (Richard Donner, 2006, PG, 115 mins)
Compare the two versions of this film. How do each change the shape of the myth? Think about the cumulative effect on a culture from looking at a core story (like Superman) for so long in so many different ways.
Spider-Man 2 (Sam Raimi, 2004, PG-13, 127 mins)
Can a hero pass on greatness? Even if he restrains his use of power isn’t he still “different?”
Star Wars: Episode III – Revenge of the Sith (George Lucas, 2005, PG-13, 140 mins)
The personal turns a hero to a great villain and then (in a later film) to a hero again. Or does it? What is the relationship of the personal to the political? Can one be a great lover and a great leader?
Indiana Jones and the Temple of Doom (Steven Spielberg, 1984, PG, 118 mins)
Jones becomes “great” in the eyes of a small village, but passes on wider “greatness.” What is the measure of greatness?
Week 6: “Out of the Light”
Raiders of the Lost Ark (Steven Spielberg, 1981, PG, 115 mins)
The seminal summer blockbuster of my era, it presents a lovable rogue as hero. What keeps Jones out of the total darkness? How does he make moral progress (if he does) in the film? Why does “not looking” at the end of the film save him?
Star Wars: Episode V – The Empire Strikes Back (Irvin Kershner, 1980, PG, 129 mins)
A darker Luke struggles to stay “in the light.” What keeps him from moving to the dark side?
The Lord of the Rings: The Two Towers (Peter Jackson, 2002, PG-13, 179 mins)
Many of the great of Middle Earth struggle with the temptation of the Ring. Some fail. What is the temptation of power? How does this temptation relate to our use of technology (for example)?
Week 7: The Never-Ending Battle . . .
Spartacus (Stanley Kubrick, 1960, PG-13, 198 mins)
Is a noble death better than the life of a slave? Why? Can a Darwinist assert this? What if fame does not result? Is the unknown Spartacus (dead) better off than a happy slave if he dies unknown?
Braveheart (Mel Gibson, 1995, R, 177 mins)
What is the cost of freedom? Why do men sacrifice everything for it? Can we sustain a struggle in modern times based on an idea like justice or freedom?
Gladiator (Ridley Scott, 2000, R, 155 mins)
Is the gladiator a true hero? Does he have an adequate philosophical basis for his struggle? What is the relationship between the common image of God in men and the struggle for freedom and dignity?
Week 8: . . . for Truth, Justice, and the American Way
The Emperor’s Club (Michael Hoffman, 2002, PG-13, 108 mins)
Aristotle says men need to live in community. When can one defy that community (and bend the rules) to help a single person?
Amistad (Steven Spielberg, 1997, R, 152 mins)
Read the Declaration. How has the American story made these ideas incarnate? Where have we fallen short? Do all problems have a state solution or is state power usually at the heart of the problem?
Mr. Smith Goes to Washington (Frank Capra, 1939, 129 mins)
Can one man make a difference as Capra suggests? Why are there fewer patriots of the Capra sort in today’s Hollywood? Can a Capra-style film be made today?
Week 9: The Superman
Ben-Hur: A Tale of the Christ (William Wyler, 1959, G, 214 mins)
What is the relationship between the power of Hur and that of the Christ? How does Christ change Ben Hur?
The Last Temptation of Christ (Martin Scorsese, 1988, R, 164 mins)
Is this film an “orthodox,” but difficult portrayal of Christ? Is the Jesus of this film too human?
What is blasphemy?
Who owns the “Jesus-story?” What are the limits of story-telling with historical (let alone divine) characters?
Jesus (John Krish & Peter Sykes, 1979, G, 117 mins)
This lesser movie is the most viewed film in history. What are its strengths? What are its theological weaknesses? Is the Jesus of this film too divine?
What is the role of film in evangelism?
The Passion of the Christ (Mel Gibson, 2004, R, 127 mins)
Is the Christ of this film “Catholic?”
What should our reaction be to seeing a crucifixion instead of “merely” reading about it?
Does the film achieve an artistic balance between the suffering and divine Jesus or is the suffering “over played?”
Week 10: A Strange Visitor
Mary Poppins (Robert Stevenson, 1964, G, 139 mins)
How does the “practically perfect” strange visitor rescue the Banks? What does she teach? When Mr. Banks takes the “long solitary walk” to the bank to be fired how does he become a hero?
The Terminal (Steven Spielberg, 2004, PG-13, 128 mins)
How does the “other” in this film teach important lessons? What is the nature of duty in all of these films? Can the stranger “get the girl” and still fulfill his role?
E.T. the Extra-Terrestrial (Steven Spielberg, 1982, PG, 115 mins)
This “other” brings a new family into being while returning to his own home. How does “home” (where we are most ourselves) relate to the “other” (which by definition is least like self)?
Week 11: Sacrifices — Part 1
Superman Returns (Bryan Singer, 2006, PG-13, 154 mins)
Can redemption for error come without suffering? If so, how?
Star Wars: Episode VI – Return of the Jedi (Richard Marquand, 1983, PG, 135 mins)
How are the characters of the film redeemed? Why can Vader be redeemed, but the Emperor cannot?
The Green Mile (Frank Darabont, 1999, R, 188 mins)
Who is the hero of the film? What is the relationship between sacrifice, death, and healing?
Star Trek II: The Wrath of Khan (Nicholas Meyer, 1982, PG, 116 mins)
Do the needs of the many outweigh the needs of the few or the one?
Week 12: Sacrifices — Part 2
Indiana Jones and the Last Crusade (Steven Spielberg, 1989, PG-13, 127 mins)
What is the relationship of the Sacred to the Divine? Can we “get the sacred” without losing teh secular?
Star Trek III: The Search for Spock (Leonard Nimoy, 1984, PG, 105 mins)
While emotionally satisfying is the decision by Kirk to place Spock’s needs first “logical?”
Casablanca (Michael Curtiz, 1942, PG, 102 mins)
Is Paris worth a mass? Check the historical reference.
Can duty outweigh love?
The Lord of the Rings: Return of the King (Peter Jackson, 2003, PG-13, 201 mins)
There is great loss to destroy great evil. What can we learn from this for our present War?
Week 13: Redemption
La Passion de Jeanne d’Arc (The Passion of Joan of Arc) (Dreyer, 1928, 82 mins)
How does Joan’s life and death redeem France? (This is my all-time favorite film.)
Offret (The Sacrifice) (Andrei Tarkovsky, 1986, PG, 149 mins)
What is the real sacrifice of the film? (Any film by Tarkovsky is a must see . . .)
The Shawshank Redemption (Frank Darabont, 1994, R, 142 mins)
Note the power of this film which was also a free market success. How can film makers tell great stories (and educate the audience) while also answering market place demands? Is this act itself a redemptive sacrifice? Or is commercial film always “just entertainment” with anything more just vain pretension?