Getting the download link through email is temporarily not available. Please check back later.
To get the free app, enter your mobile phone number.
The Gospel according to Hollywood Paperback – June 19, 2007
|New from||Used from|
See the Best Books of the Month
Want to know our Editors' picks for the best books of the month? Browse Best Books of the Month, featuring our favorite new books in more than a dozen categories.
Frequently Bought Together
Customers Who Bought This Item Also Bought
From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
About the Author
Top Customer Reviews
Leaving aside my disappointment in not finding the historical account I was looking for, we need to evaluate the book on the basis of the author's goals, not my expectations. This is a well written book and the author is obviously a film buff, but I wouldn't go so far as to call this text a "learned" approach to film. There is very little depth to Mr. Garrett's film analysis, nor is there much backstory nor sociopolitical concurrents. In addition, Garrett usually ignores the box office information which I would have thought added value to any discussion of the film's impact. Mostly it is Garrett's reactions to films, rehashing the plots and reminding us of the actors whom played the various parts.
As far as being a teaching tool, I didn't see that either. Perhaps I am being too concrete and looking for teaching lesson material here. Of course Garrett's examples can be adopted by others and used for teaching, or any other purpose. But the book itself is hardly a teaching tool, even if the contents itself can be used for teaching.
Another problem I have with this book is that it is not particularly concerned with the gospels.Read more ›
Garrett finds Christian themes in films ranging from old classics (The Philadelphia Story, To Kill a Mockingbird, Cool Hand Luke) to more recent movies (Pulp Fiction, Magnolia, American Beauty).
The first four chapters deal with more theological themes in films such as faith, the Trinity, sin, and redemption. The final two chapters explore more social and political themes such as war and peace, justice, poverty and race.
While I occasionally disagreed with Garrett's theololgy (and/or his politics), I found his insights into the spiritual themes in films unerringly accurate and insightful. The author avoids two common traps in Christian interpretation of film. He does not try to read explictly Christian ideas into movies where the filmmakers clearly did not intend them. Nor does he wholisticlally condemn films that contain offensive elements such as nudity or violence.
Instead he looks for the filmmakers intended themes and compares and contrasts them with Christian belief and practice. Although I have frequently taught college and greaduate classes on the spiritual themes in Hollywood movies, I learned a great deal from Garret's analysis.
Readers who are interested in this topic may also want to read "Hollywood Worldviews" by Brian Godawa.