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Celluloid SermonsThe Emergence of the Christian Film Industry, 1930-1986$
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Terry Lindvall and Andrew Quicke

Print publication date: 2011

Print ISBN-13: 9780814753248

Published to NYU Press Scholarship Online: March 2016

DOI: 10.18574/nyu/9780814753248.001.0001

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Methodist and Ecumenical Films

Methodist and Ecumenical Films

Chapter:
(p.56) 3 Methodist and Ecumenical Films
Source:
Celluloid Sermons
Author(s):

Terry Lindvall

Andrew Quicke

Publisher:
NYU Press
DOI:10.18574/nyu/9780814753248.003.0003

This chapter focuses on the three categories of Protestant denominations in the mid-twentieth century: the classical Protestant churches of the Reformation; the Pietistic or Evangelical traditions emphasizing the experiences of faith, such as Methodists; and a cluster of independent or “dissenting” churches, such as Baptists. These groups typically express their unique traditions through their films. The chapter provides an overview of Protestant denominational films, particularly the Methodists and the Protestant Film Commission. After sporadic ventures during the 1930s and 1940s, denominations boosted their involvement in filmmaking following the success of filmmakers like Episcopal James Friedrich. The Protestant Film Commission spawned groundbreaking works: Beyond Our Own, My Name Is Han, The Guest, and Kenji Comes Home, all of which reveal concerns for evangelism and social action, for spreading the Gospel message, and for helping others.

Keywords:   Protestant denominations, Reformation church, Methodists, Baptists, Protestant Film Commission, James Friedrich, evangelism

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