Sensing Religion in Alfonso Cuarón’s “Children of Men”

Religions

M. Gail Hamner¹ 

[1] Arts and Sciences Faculty, Syracuse University, 301 Hall of Languages, Syracuse, NY 13244, USA; E-Mail

关键词: affect;    Children of Men;    emergent religion;   

DOI  :  10.3390/rel6041433

来源: mdpi

【 摘 要 】

This essay attends closely to the affective excess of Children of Men, arguing that this excess generates two modalities of religion—nostalgic and emergent—primarily through a sensitive use of color and music. These affective religious modalities are justly termed “religion” not only because they are sutured to overtly Christian names, images, and thematics, but also because they signal the sacred and transcendence, respectively. The essay reads the protagonist, Theo Faron (Clive Owen), as navigating these two modalities of religion, not as a hero but as what Giorgio Agamben terms “whatever-being.” Noting Theo’s religious function draws attention to transformations of political being and human hope.

【 授权许可】

CC BY   
© 2015 by the author; licensee MDPI, Basel, Switzerland.