By Gerard Loughlin
Gerard Loughlin is likely one of the major theologians operating on the interface among faith and modern tradition. during this unheard of paintings, he makes use of cinema and the flicks it exhibits to consider the church and the visions of hope it monitors. It discusses quite a few movies, together with "The Alien Quartet", Christopher Nolan's "Memento", Stanley Kubrick's "2001: an area Odyssey and A Clockwork Orange", Nicolas Roeg's "The guy Who Fell to Earth" and Derek Jarman's "The Garden". It attracts on quite a lot of authors, either historic and sleek, non secular and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to Andre Bazin and Leo Bersani. It makes use of cinema to contemplate the church as an ecclesiacinema, and movies to contemplate sexual hope as erotic dispossession, as a fashion into the lifetime of God. it truly is written from a extensively orthodox Christian point of view, right now either Catholic and critical.
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Extra info for Alien Sex: The Body and Desire in Cinema and Theology
87. 10 Levinas, Time and the Other, p. 88. 11 Levinas, Time and the Other, p. 88. 12 Emmanuel Levinas, Ethics and Infinity: Conversations with Philippe Nemo, translated by Richard A. Cohen (Pittsburgh, PA: Duquesne University Press,  1985), p. 66. M. Parshley (London: Everyman’s Library,  1993), p. xlv. 14 Levinas, Ethics and Infinity, p. 68. 15 See Richard A. Cohen, Elevations: The Height of the Good in Rosenzweig and Levinas (Chicago: University of Chicago Press, 1994), ch. 9. It would seem that Luce Irigaray mistakes Levinas’s deployment of these terms, as does Tina Chanter.
Since, then, he who wishes to drink ought to bring his mouth to the fountain, and since the Lord is himself this fountain . . ’73 ‘I am going away, and I am coming to you’74 (Trinitarian Excursus) The Levinasian account of the erotic relationship, of the ‘feminine’ other or depth that, in the body of the other, withdraws as one draws near – drawing near by withdrawing – strangely parallels the triune structure of God’s approach in Christ. For that also has the dynamic of drawing one into a mystery that withdraws even as it attracts, that attracts by withdrawing.
Then all that is left for me to do is to reverse my ignorance into truth. It is not true that the more you love, the better you understand; all that the action of love obtains from me is merely this wisdom: that the other is not to be known; his opacity is not the screen around a secret, but, instead, a kind of evidence in which the game of reality and appearance is done away with. 21 In the above quotation, Roland Barthes (1915–80) – a phenomenologist of sorts, here a phenomenologist of amorous yearning – finds, like Levinas, that to embrace the beloved is to embrace the unknown.