From Impulse to Action—Noah (2014) and Exodus: Gods and Kings (2014) as Secular Bible Epics

Several large-scale Bible epics have been produced in the decade after the revival of epic cinema at the turn of the millennium. Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s Noah (2014) and Ridley Scott’s Ex...

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Autor principal:	Sylvie Magerstädt
Formato:	article
Lenguaje:	EN
Publicado:	MDPI AG 2021
Materias:	Bible epics <i>Noah</i> <i>Exodus: Gods and Kings</i> film-philosophy Deleuze epic cinema Religions. Mythology. Rationalism BL1-2790
Acceso en línea:	https://doaj.org/article/e663e3e488b740ffb61c2318703d3677
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spelling	oai:doaj.org-article:e663e3e488b740ffb61c2318703d36772021-11-25T18:53:28ZFrom Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics10.3390/rel121110252077-1444https://doaj.org/article/e663e3e488b740ffb61c2318703d36772021-11-01T00:00:00Zhttps://www.mdpi.com/2077-1444/12/11/1025https://doaj.org/toc/2077-1444Several large-scale Bible epics have been produced in the decade after the revival of epic cinema at the turn of the millennium. Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s <i>Noah</i> (2014) and Ridley Scott’s <i>Exodus:</i><i>Gods and Kings</i> (2014) stand out due to their broader epic appeal and religious skepticism. Using Gilles Deleuze’s concepts of the impulse-image and the action-image as framework, this article analyses some of the nuances and complexities of both films. It argues that although both films offer scale and spectacle consistent with older biblical epics, the portrayal of their lead characters as a man determined on destruction (<i>Noah</i>) and religious skeptic and warrior (<i>Exodus</i>) differentiates them from traditional biblical cinema. Additionally, comparing both films helps articulate nuances within Deleuze’s movement-image that are often overlooked. Having proclaimed that modern cinema brings with it a crisis of truth that challenges the certainties of classic American cinema and its clear ideas on morality and belief, Deleuze ultimately calls for a leap of faith to reinstate the possibility of action. The article concludes that <i>Noah</i> and <i>Exodus</i> offer us a bit of both—spiritual uncertainty <i>and</i> a return of classic epic cinema.Sylvie MagerstädtMDPI AGarticleBible epics<i>Noah</i><i>Exodus: Gods and Kings</i>film-philosophyDeleuzeepic cinemaReligions. Mythology. RationalismBL1-2790ENReligions, Vol 12, Iss 1025, p 1025 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	Bible epics <i>Noah</i> <i>Exodus: Gods and Kings</i> film-philosophy Deleuze epic cinema Religions. Mythology. Rationalism BL1-2790
spellingShingle	Bible epics <i>Noah</i> <i>Exodus: Gods and Kings</i> film-philosophy Deleuze epic cinema Religions. Mythology. Rationalism BL1-2790 Sylvie Magerstädt From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics
description	Several large-scale Bible epics have been produced in the decade after the revival of epic cinema at the turn of the millennium. Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s <i>Noah</i> (2014) and Ridley Scott’s <i>Exodus:</i><i>Gods and Kings</i> (2014) stand out due to their broader epic appeal and religious skepticism. Using Gilles Deleuze’s concepts of the impulse-image and the action-image as framework, this article analyses some of the nuances and complexities of both films. It argues that although both films offer scale and spectacle consistent with older biblical epics, the portrayal of their lead characters as a man determined on destruction (<i>Noah</i>) and religious skeptic and warrior (<i>Exodus</i>) differentiates them from traditional biblical cinema. Additionally, comparing both films helps articulate nuances within Deleuze’s movement-image that are often overlooked. Having proclaimed that modern cinema brings with it a crisis of truth that challenges the certainties of classic American cinema and its clear ideas on morality and belief, Deleuze ultimately calls for a leap of faith to reinstate the possibility of action. The article concludes that <i>Noah</i> and <i>Exodus</i> offer us a bit of both—spiritual uncertainty <i>and</i> a return of classic epic cinema.
format	article
author	Sylvie Magerstädt
author_facet	Sylvie Magerstädt
author_sort	Sylvie Magerstädt
title	From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics
title_short	From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics
title_full	From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics
title_fullStr	From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics
title_full_unstemmed	From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics
title_sort	from impulse to action—<i>noah</i> (2014) and <i>exodus: gods and kings</i> (2014) as secular bible epics
publisher	MDPI AG
publishDate	2021
url	https://doaj.org/article/e663e3e488b740ffb61c2318703d3677
work_keys_str_mv	AT sylviemagerstadt fromimpulsetoactioninoahi2014andiexodusgodsandkingsi2014assecularbibleepics
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From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics

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