Passion of the Christ, The

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The canon of the holiday

posted on 24 October 2007

I would place "Passion of the Christ" Gibson's chalk in this value number next to the works of West European painting, sculpture, the appropriate literary arrangements of Evangelical text, which are not unknown of church tradition. I want to recall that and in the church tradition of orthodoxy, even in the east, to THE XVII century there were liturgiko- dramatic deystva as "procession on the foal" on willow Sunday or, on the eve of Christmas Christ's into the week of the saints forefather, "peshchnoye deystvo", where are recalled adolescents in peshchi. The fact more this was in West Europe in the tradition of the Catholic church, to which belongs Gibson. If we will turn ourselves to the texts of passionate sedmitsy, they are expansion of very brief Evangelical narration. The antiphones of great heel they speak about the sufferings Christ's more than gospel. Will say we that because of this they do distort the sense of Evangelical text? One additional example. In this year Blagoveshcheniye it was necessary to the Holy Week. The canon of the holiday Of blagoveshcheniya consists of the dialogue of holiest Mother of God and archangel of Gabriel. In the gospel it is reduced to two-three phrases. But here it represents 8 of 10 songs of canon. Will say we that this distortion of Evangelical truth? No, certainly. It goes without saying, any confronting on the divine service knows that precisely so these words were not pronounced. But it knows that the fact that they are written by church gimnografom in the spirit of Evangelical narration. I think that on the basis of these criteria we must evaluate Gibson's film.

Removal from the cross

posted on 24 October 2007

If we speak about the people, which be located inside the church fence, 4 has already been encountered with the criticism. Recently it literally saw the book, released by certain Marukhinym, by the name "which stands after the film" passions Christ's "chalk of Gibson?". It is there asserted that the film somehow is made level on the level to something sv4лnno- sacral - to the icon, the divine service... And then, naturally, undergoes criticism as not not satisfying this criterion. But it is here necessary to distinctly understand that, certainly, cinematographic work does not pretend and it cannot pretend to that in order to engage the role of sacral. But indeed we understand distance between the icon and the picture to the religious subject: icon is the means, which raises to the prototype, and picture - also in a sense, but considerably that more removed. Finally, there is a difference even between the icon and the fresco in the orthodox understanding by the latter. Is it possible to draw the conclusion, when you do speak about the Turin(sk) shroud of christ and the icon of position into the coffin, o "Piyete" Mikelanzhelo and "removal from the cross" Of surbara, that the latter are something unacceptable for the Christian, from what we must be repelled? No, of course, this simply another level of approach to the cross secret, to the image of the central moment of human history.

when after the scandals

posted on 20 September 2007

“Passions of the Christ's” - that case, when after the scandals, the disputes, the curses and the discussions out of sight disappears very object of consideration, namely artistic film as the subject of skill. Specifically, subject, called to express the point of view of the author; subject, by quite its existence calling to focus on itself attention. After appearance on the screens, the film began an independent life, where there is no place for producer explanations and for the reasonings (in this sense, Gibson's failure of any interviews of those connected with the picture, step more than accurate, and, possibly, also singularly accurate). Reasonings about the excessive violence, the antisemitism already by order crowded after-taste. Impression is created, that somebody does not want and does not desire (or cannot?!) to consider “passions” as artistic report, seeing in it only the possibility of designing of the sequential precedent of distant from the cinema.