A benefit of this exercise has been to ponder the question of the
spiritual aesthetic, what are the key if not the appropriate elements
of a spiritual film criticism, what is the theoretical foundation from
which to judge films as to being spiritual.

Unc started such a discussion in his origianl post. I need to re-read
and integrate with some emerging thoughts.

Perhaps among some elements of the aesthetic:

1) deeper levels emerge later in the fim, or after repeated viewings,
where a different, best -- a contrasting, opposing, symbolism/ message
emerges where one goes "holy cow dung!". This is not about character
twists  where the good guys are really seen to be bad guys, etc,
though that may too me a category. What I am referring to is a
"process" that the film takes you through, and wakes something up
inside, shifts something. In some cases it may be "manipulation", but
then so are "guided meditations". As a "technique" or spiritual
process, "manipulation" may be an ok, even a good thing, if its a
catalyst, it causes a transformation of insight, and then itself (the
catalyst) dissappears.  The Winslow Boy is a good example of that, for
me, though I am curious if others "got it" in the same way that
happened to me. 

2)spiritual warrior is a good and relevant category. However, again as
above, it should be a catalysis, not a thing in itself. It should
serve as temporary tool that "shocks" or transforms awareness to a new
newness. If identity remains stuck as "spiritual warrior" then it is
binding not liberating. Use of temporary identification of being a
"spiritual warrior" should be temporarily  catalytic not permanent. 
Does the spiritual warrior film induce such catalytic process change
-- or does it induce a more permanent identification, a new, albeit
higher, set of chains. Some of the films mentioned, all testosterone
soaked odyessies, have certain liberating aspects, but their excesses,
IMO, diminish their overall impact. And I am not sure whehter they are
catalytic and transcend the warrior "tool", or simply induce macho
warrior identification. I would think "First Blood" might better serve
the catalytic warrior role than some of the Mel/Arnold genre
mentioned. Thats if one really wants to be pumped up, or perhaps more
accurately, puffed up, in male warrior mode. In some real ways, I
think chick warrior films may more naturally be catalytic rather than
creating new binding identifications. The key questions from this
spiritual film aesthetic is whether the warior identification is used,
then transcended -- either by the characters in the film, or in the
"process" and transformation induced in the films' viewer.  Blue Crash
(great girl surfer film) and Bend It Like Beckham are better spiritual
warrior films, IMO, than Mel and Arnold fare -- though I appreciate
some of their works quite a lot. 

3) Do the films have a visceral impact in "spiritual" regions of the
body? Do they leave you literally breathless, with a profound punch to
the solar plexus, a huge glow in the heart, or a huge lump / glow in
the throat?  This is not a cerebral response, its beyond thinking. And
some visceral impacts may be decidedly "non-spiritual" --  it may be a
fine edge to discern. As examples, at  the end of Schindlers List, I
could barely breath, I had to force breath, and could not move. The
film had "manipulated" me to a new state -- like a guided meditation. 

4) Does the film help one to "disrobe" from current identities and
either leave one "naked" or at a minimum transform identification from
a small idividuality to a larger whole -- "the land" (Out of Africa),
a people, an ideal. Or best of all, destroys identification -- often
through disillusionment with all or at least prominent attachments. 

5) Does the film, in itself, or specific sub-plots or characters'
conflicts, create useful analogies for the spiritual path,
"experiences" and states?

6) Does the film create unresolvable conflicts which prompt / force
transcendance?

A continuing dialogue, more thoughts emerging ...





--- In [email protected], TurquoiseB <[EMAIL PROTECTED]> wrote:
> --- In [email protected], akasha_108 <[EMAIL PROTECTED]> 
> wrote:
> > Jotting on the backs of envelopes over the last couple of days. 
> > 
> > Il Postino
> > The Winslow Boy
> > King of Hearts
> > Big
> > Dr. Strangelove
> > Wall St.
> > Lawrence of Arabia
> > Oleanna
> > Alice
> > Day for Night
> > Indochine
> > Dopamine
> > Hudsucker Proxy
> > The Player
> > Wag the Dog
> > Roxanne
> > Grand Canyon
> > Bridge of the River Kwai
> > White Oleander
> > Last Year at Marienbad
> > American Rhapsody
> > Pennies from Heaven
> > Hillary and Jackie
> > Amelie
> > Heaven Can Wait
> > Splendor in the Grass
> > Reds
> > The Last Metro
> > Billie Madison
> > Ghost World
> > No Way Out
> > Ma Vie en Rose
> > Ruby in Paradise
> > Pieces of April
> > Vanilla Sky
> > Run Lola Run
> > Finding Forrester
> > Gorrillas in the Mist
> > The Wild Bunch
> > Mississipi Burning
> > Breathless (original) 
> > Godfather
> > Philadephia Story
> > Robin and Marian
> > Zelig
> > Gattaca
> > A Little Romance
> > Fiddler on the Roof
> > the Man Who Would Be King
> > Papillion
> > The Candidate
> > Year of Living Dangerously
> > In the Name of the Father
> > Mighty Aphrodite
> > The Boxer
> > Missing
> > Broadcast News
> > Rodger Dodger
> > Mister Roberts
> > Requium for a Heavyweight
> > A Beautiful Mind
> > Coming Home
> > Citizen Kane
> > The Mission
> > Dave
> > Enemy at the Gates
> > Fight Club
> > Seventh Seal
> > Wild Strawberries
> > Into the West
> > High Plains Drifter
> > Sling Blade
> > Wonder Boys
> > Doc Hollywood
> 
> Wow.  Many thanks.  I know most of the films on
> your list and agree with you, so I'm looking 
> forward to seeing the ones I don't know.  Just
> the kind of reminder/hint I was looking for.




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