LEADER 03836nam 2200673 a 450 001 9910903999603321 005 20200520144314.0 010 $a0-8147-6506-8 010 $a0-8147-6535-1 024 7 $a10.18574/9780814765357 035 $a(CKB)2550000000054555 035 $a(EBL)865774 035 $a(OCoLC)779828239 035 $a(SSID)ssj0000534876 035 $a(PQKBManifestationID)11325141 035 $a(PQKBTitleCode)TC0000534876 035 $a(PQKBWorkID)10519999 035 $a(PQKB)10763457 035 $a(StDuBDS)EDZ0001325903 035 $a(MiAaPQ)EBC865774 035 $a(OCoLC)756624904 035 $a(MdBmJHUP)muse4871 035 $a(DE-B1597)547271 035 $a(DE-B1597)9780814765357 035 $a(EXLCZ)992550000000054555 100 $a20110509d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCelluloid sermons $ethe emergence of the Christian film industry, 1930-1986 /$fTerry Lindvall and Andrew Quicke 210 $aNew York $cNew York University Press$dc2011 215 $a1 online resource (289 p.) 300 $aDescription based upon print version of record. 311 $a0-8147-5324-8 320 $aIncludes bibliographical references and index. 327 $aGod talks -- Evangelical film auteurs -- Methodist and ecumenical films -- Reformed and dissenting images -- The studio era of Christian films -- The master filmmakers -- Mark IV and apocalyptic film -- Global film evangelism -- Conclusion: a modest renaissance before the end. 330 $aChristian filmmaking, done outside of the corporate Hollywood industry and produced for Christian churches, affected a significant audience of church people. Protestant denominations and individuals believed that they could preach and teach more effectively through the mass medium of film. Although suspicion toward the film industry marked many conservatives during the early 1930s, many Christian leaders came to believe in the power of technology to convert or to morally instruct people. Thus the growth of a Christian film industry was an extension of the Protestant tradition of preaching, with the films becoming celluloid sermons. Celluloid Sermons is the first historical study of this phenomenon. Terry Lindvall and Andrew Quicke highlight key characters, studios, and influential films of the movement from 1930 to 1986?such as the Billy Graham Association, with its major WorldWide Pictures productions of films like The Hiding Place, Ken Curtis? Gateway Films, the apocalyptic ?end-time? films by Mark IV (e.g. Thief in the Night), and the instructional video-films of Dobson?s Focus on the Family--assessing the extent to which the church?s commitment to filmmaking accelerated its missions and demonstrating that its filmic endeavors had the unintended consequence of contributing to the secularization of liberal denominations. 606 $aChristian films$zUnited States$xHistory and criticism 606 $aMotion picture industry$zUnited States$xHistory$y20th century 606 $aMotion pictures$xReligious aspects$xChristianity 606 $aMotion pictures in Christian education 606 $aChristianity in motion pictures 615 0$aChristian films$xHistory and criticism. 615 0$aMotion picture industry$xHistory 615 0$aMotion pictures$xReligious aspects$xChristianity. 615 0$aMotion pictures in Christian education. 615 0$aChristianity in motion pictures. 676 $a791.43/682773 700 $aLindvall$b Terry$01637570 701 $aQuicke$b Andrew$01775036 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910903999603321 996 $aCelluloid sermons$94288854 997 $aUNINA