By W. Bryan Rommel Ruiz
Whether or not they want blockbusters, historic dramas, or documentaries, humans examine a lot of what they learn about heritage from the flicks. In American heritage is going to the flicks, W. Bryan Rommel-Ruiz exhibits how well known representations of old occasions form the best way audiences comprehend the background of the U.S., together with American representations of race and gender, and tales of immigration, specially the known narrative of the yankee Dream. utilizing motion pictures from many alternative genres, American historical past is going to the flicks attracts jointly videos that depict the Civil struggle, the Wild West, the assassination of JFK, and the occasions of September 11, from The start of a state and long gone with the Wind to The Exorcist and United ninety three, to teach how audience use videos to make feel of the prior, addressing not just how we render background for renowned amusement, but in addition how Hollywood’s renderings of the USA impact the best way american citizens see themselves and the way they make experience of the area.
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In this rendering of history, these Jewish leaders, under Satan’s aegis, are Christ’s enemies. The Roman authorities (although historically the real powerful figures who authorized and conducted crucifixions) succumbed to the pressures of the Jewish leading clerics. 63 This religious and historical interpretation of Jewish culpability and Christ’s crucifixion informs Mel Gibson’s film The Passion. Although the film does not explicitly present Jewish religious leaders, and Jews in general, as working on behalf of Satan to destroy Jesus Christ (and by extension, the Christian Church), their sinister behavior in Gibson’s movie is part of a longer history of accusing Jews as “intimate enemies” and minions of the Devil undermining Christianity described earlier.
When Father Karras then propels himself through the bedroom window in order to destroy the malevolent spirit, we participate in a collective abreaction along with Regan and Father Karras. At this point, the exorcism provides a collective catharsis, releasing our terror, and confirming the film’s ontology. In other words, this moment of abreaction validates the fears we have experienced throughout this film and how we have accepted its systems and symbols of meaning. Perhaps our modern, secular intellect might have previously doubted the possibility of supernatural possession, but the emotional experience of watching this movie is our empirical evidence that we ultimately believe that demons stalk the earth and randomly possess people, even if only for the couple of hours while viewing the film.
This, of course is another issue we need to examine as we consider the other critique of modernity embedded in The Exorcist—whether historical subjectivity actually exists, and whether human emancipation is possible. 93 This chapter, however, focuses upon two of its features particularly connected to the larger Enlightenment vision of human progress: rational empirical science and historical subjectivity. In his examination of modernity’s philosophical tradition, Jürgen Habermas recognizes the limits of modernity and its promises for human emancipation and progress, especially in light of how such philosophical claims have led to the horror and terror of the twentieth century, a theme reflected in The Exorcist.