Screening Schillebeeckx
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Screening Schillebeeckx Theology and Third Cinema in Dialogue Antonio D. Sison Foreword by Robert J. Schreiter
SCREENING SCHILLEBEECKX Antonio D. Sison, 2006. Foreword copyright Robert J. Schreiter, 2006 Softcover reprint of the hardcover 1st edition 2006 978-1-4039-7516-4 All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2006 by PALGRAVE MACMILLAN 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin s Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-53576-7 ISBN 978-0-230-60210-6 (ebook) DOI 10.1057/9780230602106 Library of Congress Cataloging-in-Publication Data Sison, Antonio D. Screening Schillebeeckx : theology and third cinema in dialogue / Antonio D. Sison. p. cm. Includes bibliographical references and index. ISBN 978-1-349-53576-7 1. Motion pictures Religious aspects. 2. Motion pictures Political aspects Developing countries. 3. Schillebeeckx, Edward, 1914 I. Title. PN1995.5.S625 2006 791.43 682 dc22 2006044751 A catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: November 2006 10 9 8 7 6 5 4 3 2 1
To Edward Schillebeeckx, the happy theologian. For the inspiration, the respectful listening, and the wise counsel To Antonio, be also a happy theologian.
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Contents Acknowledgments Foreword by Robert J. Schreiter, C.PP.S. ix xi Introduction 1 Part I Cinematic Principle 1 The Concept of Third Cinema 11 2 Exploring National Dimensions of Third Cinema 35 3 Films from a Virtual Geography of Third Cinema 63 Part II Theological Principle 4 Political Holiness: The Eschatological Perspective of Schillebeeckx 85 Part III Creative Crossings 5 The Crystallization of Political Holiness in Third Cinema 149 Conclusion: The New Stained Glass Window 183 Notes 185 Bibliography 219 Index 229
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Acknowledgments I consider myself blessed to have had the incalculable experience of pitching tent in three continents in a span of six years. That said, I wish to give a modest tribute to the intercontinental conspiracy of grace that helped birth this book. Philippines: Kidlat Tahimik, independent filmmaker and nationalist, whose films taught me more about being Filipino than the history books I ve read. And special thanks to him for granting me permission to use a screen capture from his film Perfumed Nightmare. Christina Astorga and Victoria Parco, former colleagues at the Ateneo de Manila Theology Department, who were always helpful along the way. Maryhill School of Theology in Manila for my early theological training. Jose Ka Joe de Mesa for his insightful review of my research work. Bo Sanchez and Shepherd s Voice Publications (SVP) for the unselfish support. Reeya Lucero and Randy Aquino, true friends who were ready to help despite the geographical distance. My parents, who inspire me with their guileless simplicity and honesty Anthony Q. Sison, the good judge of San Carlos City, Pangasinan; and Josephine D. Sison, who became a barrister while rearing a brood of six. My biased virtual cheering squad: my siblings and their respective families. My sister Patricia Sison-Arroyo, the consummate multi-tasker, deserves credit for often volunteering to be my arms and legs on the other shore. The Netherlands: The Faculty of Theology of the Katholieke Universiteit Nijmegen (now Radboud Universiteit Nijmegen) for supporting my four-year doctoral programme. Toine van den Hoogen and Emille Poppe, who supervised my graduate research work. The late Emeritus Professor Theo Beemer for all our open-minded intellectual conversations.
x ACKNOWLEDGMENTS Patrick Chatelion Counet, my co-collaborator in the Theology- Film dialogue. Ingrid Diaz-Wolters and Gunther Sturms, who offered a ready helping hand throughout my Dutch residency. United States: S. Brent Plate of Texas Christian University for his intellectual generosity. Brent opened the door for me to contribute a chapter to the Palgrave Macmillan anthology Representing Religion in World Cinema. Angela Ann Zukowski, MHSH, for her inspiring guidance, and her spirited team at the Institute for Pastoral Initiatives, University of Dayton. The U.S. National Catholic Reporterís Global Perspective column, for giving me a platform where I could share my theological musings to a wider readership. The gracious community spirit of the Missionaries of the Precious Blood (C.PP.S.). Special thanks to Ken Schnipke for his consistent nurturing presence; and Angelo Anthony, who has been an enthusiastic conversation partner. Current housemates Jerry Steinbrunner and Hugh Henderson of St. Mark s Parish, Cincinnati, for their care and generosity. Joseph Grilliot, my co-candidate in formation, film buddy, and kindred spirit. Joe (and the Grilliot family) has been a blessing to me in more ways that I can count. The Sisters of the Precious Blood, especially Alice Schoettelkotte; and the Precious Blood Companions, for their encouragement. Last but certainly not least, Robert J. Schreiter, Professor of Historical and Dogmatic Theology, and current Vatican Council II Chair of the Catholic Theological Union, Chicago. Bob has been many things to me editor, mentor, role model, the list goes on. I am deeply grateful.
Foreword This book opens up for us an exciting intersection between cinema studies and theology in a way that few other books have done. The more common discussion of the interplay of these two disciplines correlates the themes that appear in the script of films with their counterpart in theological reflection. But Antonio Sison takes us to a different place. In his exploration of Third Cinema a distinctive and challenging approach to film he looks at how elements of style and cinematography relate to deep, fundamental turns in theology s exploration of how God yearns for and guides human liberation. Third Cinema stands alone in its emphasis upon how the craft of filming can reflect the angle of vision of the poor and oppressed of the earth, see and experience their world, and how they shape that into their struggle for liberation. The films Sison explores in this book are sterling examples of this unique entry into the consciousness of the majority of the earth s population, a consciousness that is largely ignored by the wealthy and privileged of the world. This portal into the colonized imagination offers the viewer an unexpected and suggestive challenge to rethink and to reenact relationships with those who are oppressed and seek liberation. But Sison does not stop there. He retrieves impulses and trajectories from theology that have been seldom entertained or followed. Edward Schillebeeckx, one of the great Roman Catholic thinkers of the last fifty years, is unique among European theologians. He has been a theologian who truly understands the struggles of the poor and oppressed of the world. As a result of this, he has been perhaps the foremost dialogue partner with those trying to understand the aspirations of those who suffer for their own liberation. Too often, as Sison points out so well, has his understanding of the saving power of God been domesticated and depoliticized by his colleagues in theology to make him safer for general consumption. His concept of Political Holiness charts out a terrain where people s encounter with God really does lead to a liberation from oppression.
xii FOREWORD What Sison does in this book is more than a bridging of the two disciplines of Cinema and Theology. His investigation illumines both in a new way, opening up vistas that will lure others into further exploration. We will not view the films informed by Third Cinema in the same way again, nor will we read theology that tries to grasp the movements of God in our world with the same, sometimes shop-worn expectations. This book is exemplary in showing what genuine interdisciplinary work can achieve. For both those who are interested in cinema and those who read theology, here we experience a conjunction that will lead us to previously unexplored territory. This book does pioneering work on both fronts. I urge readers to enjoy its remarkable insights and suggestions. Robert Schreiter