The founder of Act One, a Christian scriptwriters group in Hollywood, gave an overview of the movie-and-television industry, and the hopes she sees for the Church in its mission of evangelization. Here is an excerpt of an address she gave at the Catholic University of Valencia in mid-May.
On entering the cathedral it is the sublimity of the great vertical lines which first affects the soul. The nave at Amiens gives an inevitable sense of purification, for by its very beauty the great church acts as a sacrament. Here again it is an image of the world.
Is it true, as asserted by some biblical scholars and media pundits, that The Passion of the Christ is rife with historical and theological errors? Father Thomas Williams, a theological consultant for the film, provides answers.
In this issue of the National Catholic Register's guide to The Passion of the Christ, the central role of Mary is explained.
Talking with James Caviezel after his meeting with the pope.
On the set much more happened than what is known; much will remain in the secret of consciences: conversions, apparitions of mysterious personages, extraordinary explosions of energy, enigmatic figures who knelt down as the extraordinary Caviezel-Jesus passed by, even two flashes of lightning, one of which struck the cross, but did not hurt anyone.
I have been a strong supporter of the film since I first learned of Gibson's project; and late last summer, I had the opportunity to spend a long evening with Jim Caviezel and hear firsthand how the impact of the film and Gibson's purpose had affected him.
Jim Caviezel was already a devout Catholic when he got the role of Christ in Mel Gibson's "The Passion of Christ".
Its hard to overstate the soaring achievement of Peter Jackson and company in The Return of the King, the third and final chapter of their historic adaptation of The Lord of the Rings.
The Lord of the Rings film trilogy is an extraordinary cinematic tribute to a great work of Catholic imagination. While not equalling the religious vision of the books, the films honor that vision in a way that Christian viewers can appreciate, and that for non-Christian postmoderns may represent a rare encounter with an unironic vision of good and evil.
