By Gerard Loughlin
Gerard Loughlin is among the top theologians operating on the interface among faith and modern tradition. during this unheard of paintings, he makes use of cinema and the movies it indicates to consider the church and the visions of wish it screens. It discusses quite a few motion pictures, 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 old and glossy, spiritual 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 flicks to contemplate sexual hope as erotic dispossession, as a fashion into the lifetime of God. it's written from a significantly orthodox Christian point of view, right away either Catholic and critical.
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Additional resources for Alien Sex: The Body and Desire in Cinema and Theology
11 The erotic is the lure and embrace of the truly alien, the flesh that is other. Needless to say, Levinas’s feminization of alterity, his understanding of the ‘feminine’ as ‘the of itself other, as the origin of the very concept of alterity’,12 has given rise to much criticism, most famously, and caustically, by Simone de Beauvoir in Le Deuxième Sexe (1949). I suppose that Levinas does not forget that woman, too, is aware of her own consciousness, or ego. But it is striking that he deliberately takes a man’s point of view, disregarding the reciprocity of subject and object.
Eros is not so much the destruction of self or other, as their transformation, by making one present to the other, so that the other is not encompassed by the self, or the self submerged in the other, for that would be the destruction of their relationship. 6 The presence of one to the other – of one in the other – is made possible through the distance of proximity, ASC01 09/10/2003 03:37 PM Page 5 Desiring Bodies 5 through the ‘absence’ that opens in the nearness of the other’s body. ’7 To encounter the other in this way, as absent even when most close, because most close, is to encounter the other as ‘feminine’ – so Levinas avers.
Moore shows how much theology inscribes a set of differing cultural stereotypes upon the bodies of men and women. Thus Henry Peschke tells us that the ‘male is more active and outgoing; he possesses greater courage to assail. The female is more receptive and protective; she shows greater fortitude to endure . . The logic of facts and keen penetration are characteristic of the man; the ASC01 09/10/2003 03:37 PM Page 25 Desiring Bodies 20 21 22 23 24 25 26 27 28 29 30 31 25 woman is more led by emotion, sensitivity and intuition.