About the Journal for Religion, Film and Media
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. It is published twice a year, in May and November.
JRFM is edited by a network of international experts in film, media and religion with professional experience in interdisciplinary research, teaching and publishing, linking perspectives from the study of religion and theology, film, media, visual and cultural studies, and sociology. It is published in cooperation between different institutions in Europe and the USA, particularly the University of Graz, the University of Munich and Villanova University, in cooperation with the Schüren publishing house in Marburg.
The editors of JRFM invite contributions for the May 2024 issue that ad-dress the multifaceted and controversial roles of religion in The Handmaid’s Tale in and beyond the novel of 1985. Consideration of the various ramifica-tions of this narrative in different media and decades and of its impact on politics and social debates are welcome, as is in-depth analysis of The Handmaid’s Tale that focusses on the role and significance of religion, references to the history of religions, and ethical and philosophical aspects as well as its social criticism.Different approaches can be taken and a variety of questions asked, such as:
•How is religion represented and which aspects of religion are addressed in Margaret Atwood’s novels from 1985 and 2019? What is the religious background of Gilead? Whose interests does it serve?
•Can we identify a change in how religion is represented in the novel’s ad-aptations for different media, including audio-visual versions, the graphic novel, and performed iterations? Why?
•What is the hermeneutical dimension of the Bible in The Handmaid’s Tale?
•Which contemporary dimensions of religion and society are challenged by the narrative universe of The Handmaid’s Tale?
•What could be the role of dystopian narrative in staging religion today?
We hope for an innovative scholarly discussion across a broad spectrum of case studies that includes the different adaptations and further works inspired by Margaret Atwood’s novel. Scholars of literature, cinema and media studies, theology, and the study of religion, as well as of sociology or political sciences and other disciplines are invited to contribute to this issue.
This issue of JRFM will explore aspects of this multifaceted rela-tionship between religion and movies or tv series. Contributions might include questions such as:
• How religion and religious traditions are portrayed in East Asian films.
• In what way characters in the films and their plots are guided by religious patterns and traditions.
• How religious iconography is used or referred to in the films.
• How films mirror recent changes in the religious landscape of East Asia.
We invite contributions from scholars from a wide range of disciplinary backgrounds, including – but not limited to – religious studies, theology, media studies, sociology, digital anthropology, film studies and cultural studies.
Paradise Lost. Presentations of Nostalgic Longing in Digital Games
Paradise Lost expresses – or imagines – the human experience of a definite rupture in history, the inextinguishable urge to return to the period before the rupture and – unable to do so – thus constructs an idealized version of this past to long for. In addition to literature and art, the 20th and 21st centuries have seen a new arena for narratives and iconographies of Paradise Lost emerge: digital games. We invite contributions that explore the theme of Paradise Lost in the context of digital games from various cultural and religious backgrounds that take the debate beyond a western and Christian context. Deadline: August 15th, 2022.
Today the dramas of world politics, social and religious changes as well as global economy are represented and reconstructed on television and the Internet. The media production and consumption involve choices, and those decisions can subsequently be examined. Critical reflect ... See the full issue