otters sing lullabies: 2010

we're going to start working through our wedding liturgy at some point. i'm really, really excited about this aspect of marriage prep....
here's a beautiful quote from Herbert Anderson/Edward Foley on the subject...

"the marriage ritual is a nonthreatening place for a couple to begin to explore the relationship betwen the Jesus story and their life togtether, because it focuses on an objective* liturgy and not on the couple's faith. it provides a useful framework for reflection on the future of their marriage . since the marriage rite consists pf a seriees of prayers, readings, and blessings interspersed with musical interludes and symbolic gestures, the task of planning the ritual could simply focus on selcting and arranging these various elements. if, hower, our aim is to foster "weddings that wed", preparing for the ritual is more like a theological relfection than logistical planning. As they consider various parts of the wedding ceremony, the couple is invited to search for the Jesus story in their own narratives of faith in order to enhance their practice of living with contradictions."

Marriage is a wedding of stories.

Yes, we must HOPE. But in the meantime, we continue to live in a world which we would rather stockpile swords than make enough ploughshares…In such a world, our question our question cannot be whether the reign of truth and justice – the reign of God – should replace the rule of Caesar. It should – the sooner the better. Our question must be ‘how to live under the rule of Caesar in the absence of the reign of truth and justice’. Does the crucified Messiah have any bearing on our lives in a world of half-truths and skewed justice?
– Miroslav Volf, ‘Exclusion and Embrace: A Theological Exploration of Otherness, Identity and Reconciliation’, p.277

Shooting Dogs is a remarkable piece of cinematic expression. It is a film of brutal violence and calculated cruelty and depicts well the demonic power of fear and paranoia. It is also a story of overwhelming emotion and compassionate love.
This is a very real film, not only because of much of historical-political accuracy but also by the way it was filmed. In contrast to its contemporary releasee, Hotel Rwanda (filmed in South Africa), this was a film which almost relived those fateful months in 1994, the set being the ground on which 2500 Tutsis were eventually butchered. As theologian Jolyon Mitchell argues, in film, ‘the place of reception matters’, in Shooting Dogs the blood and tears are not yet dry.

The religious context and setting of the film is extremely important and cannot be emphasised enough. In 1991, 90% of Rwandans called themselves Christians (mostly Catholic) and many were active members of their local church. The sacramental element of the film is particularly significant then. The themes of presence and non-presence; grace and suffering are in many ways a helpful lens through which we might read the other elements in the film.

This I would argue contributes to the strength of the film. In many ways, we are drawn to intimately EXPERIENCE what is unfolding before our eyes. The way the director has chosen to shoot many parts of the film is particularly interesting – the film seems to feature something unexpected and dramatic at every turn, each scene slides into the next, without reflection. It feels like we are experiencing the same sights and smells and sounds that the main characters are. This is particularly poignant in the BBC filming of the dead children by the side of the road, receiving communion, the discovery of the nuns, the killing of mother and child and the road barricade scenes. In this, Canton-Jones wedges himself within an African cinematic tradition which is seen to be discussed by Meyer’s ‘Religious Remeditations’ and the role of video-film media in African Pentecostalism. He speaks of Film as not being “confined to mere representation and sphere of fake and illusion, but involves an unstable relationship between representing demonic forces and their actual presence. Rather than merely representing the visible and invisible dimensions of reality, video-films EMBODY reality, thereby breaking open the distinction between representation and presence.” (Brent-Plate/Mitchell, Religion and Film Reader, p.100)

Another strength of the film that adds to his deep poignancy is the way that radio is used. The scenes of various characters in the film listening to the radio, act as a SOUNDTRACK for the film, a kind of framing device showing the violence & power of words, which is particularly important for such a visual film. It is also of course a political and historical questioning on the culpability of the Rwandan media and the infamous: ‘Radio-Television Libre des Mille Collines.’ on fuelling the genocide. The role of the BBC within the film is another important one to consider with a global politics context.

In his article “Searching for Peace in Films about Genocide” Mitchell raises questions of the pedagogical role of this film and describes it as a “valuable catalyst” for reflection and action. Is he too daring to suggest that watching this film may even inspire students to consider ways of living that will promote a more peaceful world?

How can we respond theologically to this film? What theological tools and frameworks can be used to aid our engagement? As Volf asks, “Does the crucified Messiah have any bearing on our lives in a world of half-truths and skewed justice?”

When engaging with film how can we discuss issues of violence and peace? Is peace something that we can realistically portray and hope for within film?
What is the place of worship/ritual/ liturgical practice in the midst of such abhorrent violence? how can we understand the reality of 'silence of God' in this film? Does it make sense of things? can this film be used as an icon?

so many questions and not enough answers!