Antonio D Sison
Professor of Systematic Theology, Vatican Council II Chair of Theology
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Committed to contextual, intercultural, and aesthetic approaches to doing systematic theology. Latest book: "The Art of Indigenous Inculturation: Grace on the Edge of Genius " (Orbis Books, 2021), a cutting-edge exploration of the phenomenon of religious inculturation through the aesthetics of liberation, with case studies from Asian, African, and Latin American postcolonial contexts.
Amazon link:
https://www.amazon.com/Art-Indigenous-Inculturation-Grace-Genius/dp/1626984212/
_____________
Address: Catholic Theological Union
5416 S Cornell Ave
Chicago, IL 60615
USA
____________
Committed to contextual, intercultural, and aesthetic approaches to doing systematic theology. Latest book: "The Art of Indigenous Inculturation: Grace on the Edge of Genius " (Orbis Books, 2021), a cutting-edge exploration of the phenomenon of religious inculturation through the aesthetics of liberation, with case studies from Asian, African, and Latin American postcolonial contexts.
Amazon link:
https://www.amazon.com/Art-Indigenous-Inculturation-Grace-Genius/dp/1626984212/
_____________
Address: Catholic Theological Union
5416 S Cornell Ave
Chicago, IL 60615
USA
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"The Sacred Foodways of Film" explores the ways by which the portrayal of food in film offers creative spaces for theological insight. From the Oprah Winfrey and Steven Spielberg produced title The Hundred-Foot Journey (Lasse Hallström, 2014), to the Oscar Best Foreign Language Film winner from Japan Departures (Takita Yôjirô, 2008), eleven diverse films invite us to taste and see the mutually enriching blend of food and faith depicted onscreen. Smithsonian magazine describes the last two decades as “The Era of Crazed Oral Gratification.” The explosion of interest in food culture, what is touted as the “foodie revolution,” is evident across media platforms in the United States as well as in many other parts of the world. Curiously, there has not been a book specifically dedicated to the confluence of theology/religion and food films. The Sacred Foodways of Film is a timely contribution to this fascinating area of interest that has long been simmering on the stovetop of scholarship.
Watch video teaser, "The Sacred Foodways of Film":
https://vimeo.com/142339174
For more info, visit publisher's website:
http://wipfandstock.com/the-sacred-foodways-of-film.html
Antonio Sison sagaciously sifts through film's profanities to find sacred nuggets buried within: on toilets and motorcycles, among infectious diseases and teenagers in love, in flying kites and dancing ballet. As with Sison's previous writings, World Cinema, Theology, and the Human proffers a brilliant balance between the well-written and the scholarly, while remaining rooted in human experiences. Being fully human has something to do with being more fully aware, and Sison here succeeds in bringing us to our audio-visual senses. In so doing, readers will become more conscious of the holy depths of everyday life.
- S. Brent Plate
author of "Religion and Film: Cinema and the Re-Creation of the World"
Publisher's link:
http://www.routledge.com/books/details/9780415517461/
Situated within the interdisciplinary efforts to bridge Theology and Cinema, I explore the ways in which the liberative project of Edward Schillebeeckx's eschatological perspective is crystallized in Third Cinema.
Publisher's link:
http://www.palgrave.com/page/detail/screening-schillebeeckx-antonio-d-sison/?K=9781403975164
Link:
http://www.tandfonline.com/doi/full/10.1080/17432200.2015.1103474
Link to article:
http://sensesofcinema.com/2005/feature-articles/3rd_world_hero/
If a film's pedigree determined its quality, Himala would certainly make a strong case. For one, the film was lensed by the late Ishmael Bernal, one of the most esteemed filmmakers of the Philippines. Like his contemporary Lino Brocka, Bernal had mastered the art of re-creating Third World ethos and had a clear-eyed view of the lives of society's weakest links. The unusual multi-layered story was penned by Ricardo Lee, the most prolific and easily the most awarded screenwriter of the Philippines. Then there is, of course, the dramatic genius of Nora Aunor, the country's premiere actress, who is said to have delivered her career best in the film. Masterfully calibrating emotion through the poetics of the gaze, Aunor essays the role of Elsa with amazing depth and authenticity.
To be sure, Himala could speak for itself as a film even without mentioning its list of notables. The ensemble of complex and intriguing characters, the effectively austere semi-documentary camera work, the richly textured mise en scene, and the haunting musical score, make Himala, in more ways than one, a miracle of Third World cinema. (1)
Can the same be said, however, of the film's representation of women?
Are there miracles for women's flourishing in Himala?
I issue the caveat that my analysis is not meant to question the acclaim deservingly accorded to Himala. My intention is to re-visit the film's representation of women and examine how this squares with the optic of feminist theological currents. That said, a second caveat is due--I do not wish to claim that I speak in behalf of women's experiences. I simply graft onto the hermeneutic impulse the film itself triggers based on its own representational trajectory. The filmic text itself lays down the bridge for a possible critical discussion with feminist theology.
I am necessarily indebted to feminist resources, interweaving various feminist theological frameworks and inclusive biblical hermeneutics in order to allow for a richer discursive engagement with the given filmic text. My use of eclectic resources in feminist theological studies, however, converge in one project--the search for authentic humanity for women.
Cross Currents, Spring 2004, Vol. 54, No 1.
Link:
http://www.crosscurrents.org/Spring2004.htm
Link to article:
http://www.unomaha.edu/jrf/Vol9No1/SisonMerkabah.htm
Link:
https://www.degruyter.com/view/product/205005
"The Sacred Foodways of Film" explores the ways by which the portrayal of food in film offers creative spaces for theological insight. From the Oprah Winfrey and Steven Spielberg produced title The Hundred-Foot Journey (Lasse Hallström, 2014), to the Oscar Best Foreign Language Film winner from Japan Departures (Takita Yôjirô, 2008), eleven diverse films invite us to taste and see the mutually enriching blend of food and faith depicted onscreen. Smithsonian magazine describes the last two decades as “The Era of Crazed Oral Gratification.” The explosion of interest in food culture, what is touted as the “foodie revolution,” is evident across media platforms in the United States as well as in many other parts of the world. Curiously, there has not been a book specifically dedicated to the confluence of theology/religion and food films. The Sacred Foodways of Film is a timely contribution to this fascinating area of interest that has long been simmering on the stovetop of scholarship.
Watch video teaser, "The Sacred Foodways of Film":
https://vimeo.com/142339174
For more info, visit publisher's website:
http://wipfandstock.com/the-sacred-foodways-of-film.html
Antonio Sison sagaciously sifts through film's profanities to find sacred nuggets buried within: on toilets and motorcycles, among infectious diseases and teenagers in love, in flying kites and dancing ballet. As with Sison's previous writings, World Cinema, Theology, and the Human proffers a brilliant balance between the well-written and the scholarly, while remaining rooted in human experiences. Being fully human has something to do with being more fully aware, and Sison here succeeds in bringing us to our audio-visual senses. In so doing, readers will become more conscious of the holy depths of everyday life.
- S. Brent Plate
author of "Religion and Film: Cinema and the Re-Creation of the World"
Publisher's link:
http://www.routledge.com/books/details/9780415517461/
Situated within the interdisciplinary efforts to bridge Theology and Cinema, I explore the ways in which the liberative project of Edward Schillebeeckx's eschatological perspective is crystallized in Third Cinema.
Publisher's link:
http://www.palgrave.com/page/detail/screening-schillebeeckx-antonio-d-sison/?K=9781403975164
Link:
http://www.tandfonline.com/doi/full/10.1080/17432200.2015.1103474
Link to article:
http://sensesofcinema.com/2005/feature-articles/3rd_world_hero/
If a film's pedigree determined its quality, Himala would certainly make a strong case. For one, the film was lensed by the late Ishmael Bernal, one of the most esteemed filmmakers of the Philippines. Like his contemporary Lino Brocka, Bernal had mastered the art of re-creating Third World ethos and had a clear-eyed view of the lives of society's weakest links. The unusual multi-layered story was penned by Ricardo Lee, the most prolific and easily the most awarded screenwriter of the Philippines. Then there is, of course, the dramatic genius of Nora Aunor, the country's premiere actress, who is said to have delivered her career best in the film. Masterfully calibrating emotion through the poetics of the gaze, Aunor essays the role of Elsa with amazing depth and authenticity.
To be sure, Himala could speak for itself as a film even without mentioning its list of notables. The ensemble of complex and intriguing characters, the effectively austere semi-documentary camera work, the richly textured mise en scene, and the haunting musical score, make Himala, in more ways than one, a miracle of Third World cinema. (1)
Can the same be said, however, of the film's representation of women?
Are there miracles for women's flourishing in Himala?
I issue the caveat that my analysis is not meant to question the acclaim deservingly accorded to Himala. My intention is to re-visit the film's representation of women and examine how this squares with the optic of feminist theological currents. That said, a second caveat is due--I do not wish to claim that I speak in behalf of women's experiences. I simply graft onto the hermeneutic impulse the film itself triggers based on its own representational trajectory. The filmic text itself lays down the bridge for a possible critical discussion with feminist theology.
I am necessarily indebted to feminist resources, interweaving various feminist theological frameworks and inclusive biblical hermeneutics in order to allow for a richer discursive engagement with the given filmic text. My use of eclectic resources in feminist theological studies, however, converge in one project--the search for authentic humanity for women.
Cross Currents, Spring 2004, Vol. 54, No 1.
Link:
http://www.crosscurrents.org/Spring2004.htm
Link to article:
http://www.unomaha.edu/jrf/Vol9No1/SisonMerkabah.htm
Link:
https://www.degruyter.com/view/product/205005