Look at the picture.
What do you see?
My eye is drawn first to the two profiles facing each other.
I could stop there and would be correct in my description. Partially.
But if I’m willing to take a step back, look away, and view the picture with fresh eyes, I’ll gain a different perspective. I’ll see more. While the darkness reveals the profiles, the negative space reveals an urn. The darkness exposes the white paper that had always been there.
~ Rembrandt used darkness to draw the viewer’s eye to the light.
~ Haydn used bold dynamics in Symphony 94 (his “big surprise”) to capture the listener’s attention for the rest of the (much quieter) piece.
~ And the darkness found movies can give us a new perspective on the light that is, and always has been, present in the world.
Sometimes looking into the darkness can help us see the light.
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Week 4 – Art of Darkness
Movie of the Week – Apocalypse Now
I’m grateful for the experience of Taxi Driver, as disturbing as it is. It reminds me of what others are experiencing outside of my daily routine. For many of these individuals, a kind word, a conversation, or a gift could come as a bright and guiding light in a time of crisis. – p. 246
1. How can some movies, which are disturbing and hard to watch, result in the viewer having a softened heart? Have you ever had that experience?
They’re (people pedaling various modes of escapism) after us like paparazzi to celebrities – salespeople eager to sell us redemption at a reasonable price. In seeking satisfaction along these misguided paths, we ensure that we, as a culture, remain dissatisfied. Pursuing happiness, we try to steer clear of anything difficult or inconvenient, convinced that there are shortcuts to joy. As a result, we end up unhappy, disconnected, weak, and lonely – p. 254
Clearly, the heart is the problem. Both Apocalypse Now and Titanic show ambitious human endeavors that lead to catastrophic failure. – p.286
When Bruce’s (from Bruce Almighty) definition of love is self-referential – seizing the freedom to do what pleases him – he is not capable of finding or receiving love. Some freedoms are only accessible through the denial of ego, along the humbling path of service. Freedom to follow one’s baser appetites is not freedom of all, but slavery. – p.290
2. Many movies focus on characters who live beyond boundaries, who have achieved “the American dream”, and who indulge in their hearts’ desires. At first glance, these films could seem dangerous, drawing us deeper into worldliness and depravity. How could they, like the black and white picture above, result in our seeing the light more clearly?
I suspect that these films (Alien, The Thing, The Shining) resonate not merely because they’re outrageous but also because we know they are illustrations of the truth. Evil does exist as a force outside of us, seeking to lure us into error. That leaves us to determine if we are ultimately helpless, or if there might be a power greater than evil seeking to help us escape the monsters. – p.273
Code Unknown (and other similar movies) could be, for some viewers, nothing more than an 118-minute downer. But the watchful may find glimmers of hope. And perhaps we can find understanding by noting what is absent from these confused lives. – p.264
If a heart opens to reveal ugliness and corruption and we respond by recoiling and turning away, we also turn away from the possibility of redemption. – p.267
3. What do you make of Overstreet’s thoughts on the depiction of evil in movies, and of the possible resulting redemption?
4. When you think of darkness in movies (in a character’s heart, a society, situation, etc.), what movie comes to mind? What redemption could come from watching that particular film?
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If you’d like to join us or to catch up on the conversation:
Week 1 – How We Watch
Week 2 – Saving the World
Week 3 – Fools and Jokers
Intermission – Raising Arizona: An Appreciation