Senna is a 2010 documentary film, directed by Asif Kapadia, that portrays the public and personal life and the tragic death of Formula 1-racer Ayrton Senna (1960-1994). Despite receiving general critical acclaim of journalists worldwide[1], Formula 1-racer Alain Prost (1955), former team member and eventual life-long rival of Senna, explicitly renounced the way in which he was represented in the film. This paper discusses Prost’s major arguments for this renunciation in the light of the two existing versions of the film and their differences in terms of content and montage. I argue that the award-winning[2] montage of the regular, theatrical cut establishes a paradoxical relation between the film’s purportedly independent quality as an artwork and the external objections of its accuser: while the film’s critical acclaim is partly the result of the refined montage, the montage is also precisely what has made the film controversial.
In the spring of 2019 I wrote an entry on the relation between film and personal worldview. How can a film inform the way someone theorizes and thinks about the world?
I embedded some thoughts on my master thesis (film & visual culture) in my portfolio for the RMA course ‘Materiality and Corporality of Lived Religion’. My master thesis can be found here, and this post serves to share my reflections on the relation between vision (the eye) and knowledge (the mind).
This is a paper from a few months ago. Writing on the (academic) study of ”Gnosticism” was challenging, especially because I barely knew anything about the field when I started my research. The final effort still contains some flaws that I’m well aware of – specialists will certainly be able to spot them, which is also one of the reasons I ultimately didn’t succeed in publishing the paper. It’s interesting to reread and to see how quickly views can change and evolve – my thought experiments on the subject matter were different from how they are now. Still wanted to publish it though, it might be an interesting trip for those of you who are interested.
The Wicker Man (Robin Hardy, 1973, released on DVD by Studiocanal)
In the course of March and April 2019, I wrote seven essays on topics ranging from a supposedly blasphemous song to the relationship between subjectivity and anthropological fieldwork. Today I publish the first essay, on Robin Hardy’s 1973 cult classic The Wicker Man.
In the first semester of 2018/19 I wrote an extensive paper on the academic study of religion and film. A condensed outline of my argument was presented at a student conference of the UvA and the UU in January 2019. I publish the full paper right here.
I recently wrote an academic book review for one of my research master courses. I took a publication of the Canadian Religious Studies scholar Douglas E. Cowan, entitled America’s Dark Theologian: the Religious Imagination of Stephen King.
What happens when you’re suddenly asked to write an exegesis on a particular set of biblical verses? I did so for a RMA course on Religious Texts and Interpretative Practices, and you’ll be able to find the result in this post.
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