I have been reading Cathleen Norris’ “Cloister Walk,” which is an intriguing dialogue on the metaphors and similarities of the writing and monastic life. She discusses how Bendectine monks employ the grittiness of the psalms and verses from Job, to lament sin and praise God through suffering. Also, since the creation of the Benedict order 1500 years ago by St. Benedict, they have been a peaceful and benevolent order. However, they study and sing the writings and verse of St. Benedict, who employs Roman military images and metaphors of triumph, confronting violence and exploring the root of violence as well.
Many Presbyterian and Reformed songs use military and violent metaphors to provoke violence, but to understand it in the context of faith and praise to God. It seems to me that film can use violence not to glorify or promote it, but employ it as a means of metaphor, of establishing connections that cannot be made other ways.
For instance a not very violent example, yet still tragic, is the opening scene of “The Mission,” where a Jesuit priest is strapped to a wooden cross and floated down a river, whereas he falls hundreds of feet down a waterfall, to a gory end. The moment is stunning, horific and beautiful at the same time. Violence in film can challenge and make us understand difficult instances of depraved life, and perhaps in very strange ways show us God’s grace in all events, though he laments them.
EricVW
Mar 28 2003
12:16 pm
I have been reading Cathleen Norris’ “Cloister Walk,” which is an intriguing dialogue on the metaphors and similarities of the writing and monastic life. She discusses how Bendectine monks employ the grittiness of the psalms and verses from Job, to lament sin and praise God through suffering. Also, since the creation of the Benedict order 1500 years ago by St. Benedict, they have been a peaceful and benevolent order. However, they study and sing the writings and verse of St. Benedict, who employs Roman military images and metaphors of triumph, confronting violence and exploring the root of violence as well.
Many Presbyterian and Reformed songs use military and violent metaphors to provoke violence, but to understand it in the context of faith and praise to God. It seems to me that film can use violence not to glorify or promote it, but employ it as a means of metaphor, of establishing connections that cannot be made other ways.
For instance a not very violent example, yet still tragic, is the opening scene of “The Mission,” where a Jesuit priest is strapped to a wooden cross and floated down a river, whereas he falls hundreds of feet down a waterfall, to a gory end. The moment is stunning, horific and beautiful at the same time. Violence in film can challenge and make us understand difficult instances of depraved life, and perhaps in very strange ways show us God’s grace in all events, though he laments them.