Spectacular transcendence: Abundant means in the cinematic representation of African American Christianity

Abstract

The transcendental style used to express the exuberant nature of African American Christian faith in the cinema has been neglected both in ethnic film studies and religious perspectives on film. This article explores the passion and spectacle of transcendence found in the cinematic images of African American religious practices. In discussing different representations of spirituality in different cultures, the authors examine the use of abundance and affirmation, as opposed to sparseness and stasis. Through analysis of Vidor's Hallelujah (1929) and Pearce's The Long Walk Home (1990), the authors construct a means of abundance that includes the spectacular, charisma, and renewal.

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