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The American Noah: neolithic superhero

By William D. Romanowski Reports suggest that Hollywood’s sudden interest in Bible movies is driven by economics. Comic book superheroes may be losing their luster and the studios can mine the Bible’s “action-packed material” without having to pay licensing fees to Marvel Entertainment. Maybe this explains why director Darren Aronofsky’s pitch to studio executives was […]

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Reflections on Son of God

2014 is being heralded Hollywood’s “Year of the Bible.” The first film to reach theaters is Son of God, a remix of material by the same producers of the History Channel’s successful miniseries, The Bible. It seems hardly a coincidence that Son of God opened on Ash Wednesday, ten years to the day after Mel Gibson’s The Passion of the Christ was released.

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The movies and biblical epics of Cecil B. DeMille

By William D. Romanowski
The 4th of December marks the 90th anniversary of the premiere of Cecil B. DeMille’s The Ten Commandments (1923). A silent film, this was the first in a trilogy by the famed director that established the conventions for Bible-themed movies: religion, sex, violence, and cinematic spectacle (and not necessarily in that order).

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Pablum for profit’s sake?

By William D. Romanowski
When Protestant evangelicals opened a Hollywood front in the late twentieth-century “culture wars,” the result was an odd mixture of moral reproach and commercialization of religion. To no avail, they famously protested MCA/Universal over The Last Temptation of Christ (1988), and then joined conservative Catholics — outraged over the movie Priest (1995) — in a boycott of the Walt Disney Company, the world’s largest provider of family entertainment.

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Protestantism in Hollywood

Hollywood and Christianity often seem to be at war. There is a long list of movies that have attracted religious condemnation, from Gone with the Wind with its notorious “damn,” to The Life of Brian and The Last Temptation of Christ. In his latest book, historian and award-winning commentator William Romanowski explores the complicated and remarkable relationship between Protestants and the American film industry. In it he reveals the surprising story of how mainline church leaders opposed government censorship, preferring instead self-regulation by both the industry and individual conscience.

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