Introduction
In the chapter “Heroes and Superheroes,” Jewett and Lawrence discuss heroism communicated through cinema. The chapter’s main argument is that cinematography has given a more profound representation of religious heroism (Jewett and Lawrence 384). In addition, the authors argue that heroism in cinema encourages religiously insightful behavior in the viewers (Jewett and Lawrence 384).
Concrete Examples to Support Analysis
To substantiate their position, the authors give examples of heroic images in both religious and dramatic films (Jewett and Lawrence 385). Such images influence the viewer by encouraging followers to follow a leadership model or cultivate righteous qualities in themselves (Jewett and Lawrence 400). I agree with the argument of the authors of the chapter, which has convincing examples and logical reasoning to defend their position.
Through the text, the authors convey that the features of religious heroes and superheroes can be seen in almost every dramatic picture. An example of such a stereotypical image is the depiction of a savior hero, who may be a religious character, such as Moses (Jewett and Lawrence390). The main features of non-canonical historical or dramatic characters are forgiveness, patience, reconciliation, and personal redemption (Jewett and Lawrence 392).
Unpacking and Responding to the Main Argument
By explicitly demonstrating the importance of adherence to this Christian ideal, films form a suitable model of behavior for the audience. The values of such heroes, the most striking example of which is Superman, are truth and justice, and personal sacrifice is an integral feature (Jewett and Lawrence 395). Such cult film series as “Star Wars” or “The Lord of the Rings” resort to displaying the religious idea of stereotyping evil versus absolute good (Jewett and Lawrence 399). By creating an image of absolutely unacceptable and praised behavior, cinema encourages the viewer to follow the right leader, who will triumph over evil in the end.
The author’s argument seems convincing since both purely religious and cult characters are cited as convincing examples. Considering the phenomenon of religious heroism in cinema, the authors approach it from different angles, which allows them to be more deeply imbued with the argument. Several characteristics, images, and filming devices are mentioned throughout the text.
A diversified approach to the issue made me agree that there is a single line of persuasion. I also agree with the conclusion, which states that all the features described make it possible to convince the viewer of the need to follow a good leader who can resist evil (Jewett and Lawrence 400). This idea is convenient for educating mass consciousness and instilling common cultural values. I am sure that the general religious background, adapted to the American mentality, is the reason for successfully consolidating this image.
Conclusion
In conclusion, the development of cinema has created an opportunity to popularize the religious heroic image. A similar image can be found in films with religious themes and almost any dramatic film. Using a set of stereotypical personality traits and methods of organizing a conflict, films influence the mass consciousness. Justice, truth, and sacrifice are recognized as good traits, and an unreasonable and absolute evil often opposes them. As a result of this heroic display, viewers form an idea of right and wrong behavior patterns.
Work Cited
Jewett, Robert, and John Lawrence. “Heroes and Superheroes.” The Routledge Companion to Religion and Film, edited by John Lyden. Routledge, 2009, pp. 384-402.