Word: jesus
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...theology within the context of the living faith of his childhood neighbors, a faith that spoke of the mestizo experience--the mixture of Spanish and Indian blood common to people born of the Spanish conquest of Mexico. Why, he pondered, was there such emphasis in the Gospels on Jesus' origins in Galilee, a land little mentioned in the Old Testament? It came to him that Jesus was essentially a mestizo, raised in Nazareth, outside the mainstream of Israelite life. "People are hurt when they are not welcome. To me, that is the sin of the world," Elizondo says. "Jesus became...
...silent film was to the stage, early photography was to painting, sometimes. Day's early work is full of classical, symbolic subject matter-in 1898 he starved himself for weeks and then put on a crown of thorns so that he could photograph himself as Jesus and lift the camera to the realm of religious...
Blasphemy just ain't what it used to be. On television every week one WWF wrestler head-butts his opponents in the crotch and then makes the sign of the cross. "Late Night with Conan O'Brien" offers schtick featuring an actor dressed up as Jesus Christ. And the pint-sized, helium-voiced denizens of "South Park" frequently meet up with Christ himself, whether he be hosting a cable-access show or taking on the devil in a wrestling match. These days it seems that an artist/entertainer would have to go pretty far ("Piss Christ," anyone?) before...
...feature, a dreamlike exercise in l'amour fou entitled "L'Age d'or" ("The Golden Age"). The film concludes with the introduction of a man described as "the leader and chief instigator" of a band of "fiends." As the gent steps out of his chateau, we're confronted with Jesus Christ. The bearded one then takes a young woman back into his lair, and screams are heard from behind the door. Cut to: a crucifix covered in women's scalps, THE END. Protests over this sequence, and the film in general, in local newspapers caused a group of fervent rightists...
...Christian images he first used in his Mexican films were, he claimed, all based in reality. Thus we see a shrine to the Virgin in a slaughterhouse ("El Bruto," 1952), a bloody statue of Jesus carried onto a bustling streetcar ("Illusion Travels by Streetcar," 1953), and a man viewing a priest's ritual cleaning and kissing of altar boys' feet leading to sexually charged stares between the man and the woman who will become his beloved ("El/This Strange Passion," 1952). The coup de grace is delivered in "Archibaldo de la Cruz" when our hero, an aspiring (but terribly clumsy) serial...