JRFM is a peer-reviewed, open-access, online publication. It offers a platform for scholarly research in the broad field of religion and media, with a particular interest in audio-visual and interactive forms of communication. It engages with the challenges arising from the dynamic development of media technologies and their interaction with religion in an interdisciplinary key.

JRFM is edited by a network of international film, media and religion experts from different countries and with professional experience in research, teaching and publishing in an interdisciplinary setting, linking perspectives from the study of religion and theology, film, media, visual and cultural studies, and sociology. It emerges from the cooperation between different institutions in Europe, particularly the University of Graz and the University of Munich in cooperation with the Schüren publishing house in Marburg.

Call for Papers: JRFM 2018, 4/2: “Who, Being Loved, is Poor?” Material and Media Dimensions of Wedding


Wedding rituals are performed as a “rite de passage” in diverse cultures and within religious as well as secular contexts in manifold variations. The temporal horizon of the marriage vow might be forever and eternal, until death breaks the couple apart, or just temporary. The ritual can include only two persons or several, groom and bride, two grooms or two brides or a multiplicity of persons in any constellation. For some time now, weddings have become events, a big business with fairs, wedding planners and specific products for the special day(s). Media representations influence the look and performance of weddings, how the festivities are orchestrated and celebrated. And at the same time, many couples are looking for alternative expressions of the wedding ritual.

Vol 2 No 2 (2016): From Social Criticism to Hope. The Cinema of the Dardenne Brothers

This issue of JRFM pursues two goals: first, the analysis and evaluation of the critically acclaimed, rich work of the Dardenne Brothers from the perspective of the study of religions  and  theology;  and  second,  departing  from  this  analysis  of  the  Dardennes’ cinema and through the comparison of their work to that of other socially committed filmmakers in relation to the broader debates about realist filmmaking, a more fundamental reflection on the relationship between cinema and “reality” and the questions of responsibility and hope that may emerge from it.

Published: 2016-11-15

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