Posts

Popular Culture, Dr. Who, and Religion

 

It’s a big universe, and sometimes things get lost in time and space. For instance, this 2013 interview with Dr. James F. McGrath was recorded but then fell into a metaphorical black hole (i.e. the potential podcast series never debuted). Fortunately, his discussion of topics including the soul, the religious ethics of artificial intelligence, and the function of science fiction on informing audiences’ spiritual sensibilities all remain (relatively) timeless. To start, he addresses the unique challenges of working across disciplines in pursuit of analyzing popular culture currently, then shifts to an exploration of religion’s study in the future. Along the way, McGrath and interviewer A. David Lewis namecheck famous characters such as Captain Kirk and Doctor Who in the effort to illustrate complex notions of the soul embedded in secular entertainments. Enjoy a trip to the past — that looks to the future!

You can download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us. And remember, you can use our Amazon.co.ukAmazon.com, or Amazon.ca links to support us at no additional cost when buying academic texts, Chia Pets, hot sauce, and more.

Popular Culture Studies and Bruce Springsteen: Escaping and Embracing Religion

Kate McCarthy in 2013, shortly after the re-release of her co-edited volume God in the Details. However, listening back to this unreleased (until now!) interview, her commentary both on the metamorphic nature of popular culture studies and on the music of Bruce Springsteen remain salient and fresh even today. With “the Boss” having just finished his tour in support of the re-released The River and a new solo album planned, it seemed fitting to unearth this interview between McCarthy and A. David Lewis, tracking Springsteen’s relationships to the Church and to women.

This interview was recorded by A. David Lewis – who has been an interviewee on the RSP twice in the past – for a separate project. As fate would have it, the interview has made its way into our hands and we are delighted to bring it to you now.

Video Games and Religious StudiesReligion and Film, Religion and Literature,Visual Culture and the Study of Religion, Religion and Comic Books, and Religion and Cultural Production. You can download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us . And remember, you can use our Amazon.co.ukAmazon.com, or Amazon.ca links to support us at no additional cost when buying academic texts, ornaments, puncture repair kits, and more.

 

Outside the Panels: Comics and Context

rcrumb

At several points during his most recent interview with the Religious Studies Project, A. David Lewis alludes to the prominence of religious themes and images in comic books. In fact, if anything, Lewis downplays just how obvious the connection is. There are at least three intersections. Firstly, and explored at length in this interview, are the implicit and frequent utilisation of religious and mythical stories – particularly concerning death and rebirth – recast with superheroes rather than deities, and often reframed in scientific (or “scientistic”) language. Second, explicit religious narratives are frequently found in comics – consider Will Eisner’s A Contract with God, Craig Thompson’s Habibi, Robert Crumb’s literal presentation of Genesis or more prosaically, Marvel’s Thor. Not forgetting the ubiquitous Christian fundamentalist comics, or Chick Tracts after their primary producer Jack Chick, which due to their massive print runs are often considered to be the world’s most-read comics. Finally, comic books frequently include alternative or heterodox religious ideas, something underscored by the fact that two of the most acclaimed writers working today (Alan Moore and Grant Morrison) are practising magicians, and their work frequently contains references to their practises.

For some reason, then, there is something about comics that makes them particularly suited to discussing such ideas. Here, I will suggest some structural reasons why this might be the case. But I will also present a more sociological possibility, that comics and a heterodox approach to religious ideas go hand in hand, because both are typical features of the cultic milieu (Campbell 1972). As such, the analysis of religious themes in comic books needs to go beyond merely structural analyses.

Structural connections

gmorrison

from Grant Morrison’s ‘The Invisibles’

Darby Orcutt’s chapter, “Comics & Religion: Theoretical Connections” (in the Lewis-edited Graven Images), suggests two reasons why the comics medium is particularly suited to narratives concerning religion. Firstly, drawing from McCloud’s seminal Understanding Comics (1993), he argues that comics allow a greater degree of identification than would be possible with a movie or a novel because of their ability to be deliberately vague about certain aspects.

McCloud notes that the iconic, simplified faces of the protagonists typical of the Japanese Manga comics style makes the protagonist more easily relatable, and this might suggest one reason for the many comics with simplistic protagonists in more realistically drawn worlds (Cerebus the Aardvark, Concrete, Bone, etc).

A second factor outlined by Orcutt is the manipulation of the readers’ perception of time and space. In comics, time can be slowed down and sped up, and future and past can be shown side-by-side. Moreover, by utilising the gutter – the space between the panels – it becomes very easy for the mythical world to be shown, literally outside of the bounded time of the panels, but interacting with the present. Douglas Rushkoff’s Testament makes great use of this technique, as does Alan Moore’s Promethea, from which the following page is drawn.

AMooreOne particularly striking and effective version of this – which also includes Lewis’ comment that comics seem unusually aware of the limitations of the genre – is to have enlightenment illustrated by having the characters fall out of the 2D, panel-bound pages, and see them from the three-dimensional point of view of the reader. This happens in Moore’s Promethea and Morrison’s The Invisibles, but there are many other examples. A striking variant found in recent works by both, Moore’s League of Extraordinary Gentlemen: The Black Dossier and Morrison’s Superman Beyond, have used 3-D colouring techniques to indicate when a character has stepped from the ‘flat’ world of the comics page and out into a world with (literally) more depth. While there are many literary examples of such metatextuality – notable examples being the characters meeting their author in Alasdair Gray’s Lanark and Stephen King’s The Dark Tower, although acknowledgement that the text was in fact a text dates back to Don Quixote, at least – the characters do not step off the page in quite the same way. Perhaps this is because comics combine both text and images, so one can be played off another. Interestingly, both Moore and Morrison take this further than mere analogy, and argue that when viewed from a higher level, we the readers are literally works of fiction ourselves… But that is a post for another day.

comics

Cultic milieu

As noted above, however, comics concern themselves disproportionately with heterodox and alternative religious ideas – lots of ‘funny ideas’ in these ‘funny books’. Comics are as much a part of the cultic milieu as alternative religions (see Kripal’s recent Mutants and Mystics) – what better place for ‘not real religion’ than in ‘not real literature’? As indicated by the frequency of the descriptor “alternative”, the cultic milieu exists not as a free-floating pool of religious ideas, but to a considerable degree as that which is self-consciously alternative to the social norm.

From this point of view, it is not so surprising that comics would be so prominent. Comics and cartoons (their non-sequential variant, although this is not always so clearly delineated) have a long history of operating as social critique, a tradition that goes back to Hogarth in the mid 18th century, and most recently played out in the Charlie Hebdo affair. I therefore ask, if the religious narratives concerned here operate in some way as a critique of more traditional religious narratives and institutions, does this therefore indicate that this critique is a particular concern among the demographic who read comics? Indeed, comics traditionally have a strong anti-clerical bias (Wilson 2010), suggesting an active attempt to reclaim these symbols of transcendence from elitist discourses. So long as we focus only on structural or narrative similarities, we may be missing the most interesting points.

Like religion(s), comics do not exist as sui generis artefacts, separate from their cultural context. We cannot treat them as naive material artefacts, nine-panel hierophanies which “manifest” or “embody” some eternal religious essence, but as a part of a much larger discourse on “religion” (term, not thing) – which goes on both in elite, official cultural products and unofficial, alternative ones, like comics. Therefore it is vitally important for a non-essentialist and non-elitist study of religion that we consider comics in their cultural and historical context. Without that, structural analyses may be merely repeating hegemonic categories and structures of power. As scholars we need to fall off the page, and see the panels which form the boundaries of our thought.

References

Campbell, C. (1972) “The Cult, the Cultic Milieu, and Secularization.” in A Sociological Yearbook of Religion in Britain 5. (London: SCM Press), 119-136.

McCloud, S. (1994). Understanding comics: [the invisible art]. (New York: HarperPerennial).

Orcutt, D. (2010) “Comics and Religion: Theoretical Connections.” In Lewis, A. D., & Kraemer, C. H., Graven images: Religion in comic books and graphic novels (New York: Continuum), 93-106.

Wilson, G. W. (2010) “Machina ex Deus: Perennialism in Comics.” In Lewis, A. D., & Kraemer, C. H., Graven images: Religion in comic books and graphic novels (New York: Continuum), 249-257.

 

Comics and the Superhero Afterlife

Comic books are reliable. Every month readers can expect another installment of their favorite comic on the shelves. Characters facing insurmountable odds will find a way to victory. Nemeses will be defeated. And should a hero die, they are likely to be re-born. In some sense, to be a hero is to be immortal. Even extraordinary humans such as Bruce Wayne (Batman), find their identities preserved for all time by turning the secret hero’s mask into a mantle to be bequeathed on worthy successors. One widespread trope has been much ignored by comic fans and scholars–the journey to the afterlife. Like the katabasis or descent into the Underworld of Orpheus, Odysseus, Gilgamesh, Theseus, and dozens of other mythical figures, modern comic book superheroes routinely journey to heaven, hell, and other landscapes of the afterlife.

A. David Lewis, comic books are presented as an irreplaceable cultural medium for engaging with issues of mortality, identity, subjectivity, and cosmology. In the pages of comic books, Lewis explains, the popular elements of the journey to the afterlife become surfaces upon which can be written a kind of “special reality” whose artificiality makes it possible for readers (and writers) to have discussions about serious issues but never fully commit to the vision of the comic books. For Lewis, that so many different versions of this journey exist but have yet to be readily acknowledged speaks to the major tensions in western culture. One central concern, he maintains, is the unspoken effort to preserve models of self that are unified. “We don’t want see our selves as multiples,” says Lewis. We want to be unified, “whole individuals.” And yet recent work on healthy multiplicity by Helene T. Russell and J. Hills Miller suggests that by accepting “people [as] constructed by many selves” we can further the work of religious pluralism and enhance inter-religious and inter-cultural dialogue.

comicFor those who may still see comic books as unworthy material for serious scholarship, A. David Lewis’ recent work (2014’s American Comics, Literary Theory and Religion: The Superhero Afterlife or his 2010 co-edited collection Graven Images) should be a warning to re-think your position. With an overwhelming slate of comic book driven television series (Walking Dead, Gotham, Flash, Green Arrow) and a rising tide of superhero films and franchises (X-Men, Fantastic Four, and the Avengers), there has never been a more essential time to recognize the cultural merits of comic books and seek out their academic rewards.

Listeners might also be interested in our previous interview with A. David Lewis on “Religion and Comic Books“, and also recent interviews with Carole Cusack on “Religion and Cultural Production” and Alana Vincent on “Religion and Literature“. You can also download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us. And remember, you can use our Amazon.co.uk, Amazon.com, orAmazon.ca links to support us at no additional cost buying comic books, pizza cutters, incense sticks and other cultural products.

Religion and Comic Books

graven-imagesWhat better way to end our series on Religion and Cultural Production than with a podcast combining two of my favourite topics – religion and comic books (and we will have none of your middle-class renaming “graphic novels” round RSP HQ)! Today, RSP assistant editor Per Smith talks to A. David Lewis and attempts to delineate an emergent and very rich sub-discipline.

While some comic books tell traditional (or invented) religious stories, others touch upon religious themes more indirectly. In discussing the many ways that this relationship can unfold David touches upon broader issues of interest to religion scholars like the place of imagery within religious traditions. Prohibitions against certain types of religious images can, for instance, pose challenges to comic book artists desiring to tell certain kinds of religious stories. He also delves into the superhero archetype, and discusses how the comic book genre is particularly suited to tell stories of a mythological character.

And what does any of this have to do with Scientology?

You can also download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us. And remember, you can use our Amazon.co.uk or Amazon.com links to support us at no additional cost when buying any of the excellent comics mentioned in this podcast.

This podcast concludes our series on religion and cultural production, featuring interviews with Michel Dejardins on Religion and FoodFrançois Gauthier on Religion, Neoliberalism and Consumer CulturePauline Hope Cheong on Religious Authority and Social Media, and Carole Cusack on Religion and Cultural Production.

Podcasts

Popular Culture, Dr. Who, and Religion

 

It’s a big universe, and sometimes things get lost in time and space. For instance, this 2013 interview with Dr. James F. McGrath was recorded but then fell into a metaphorical black hole (i.e. the potential podcast series never debuted). Fortunately, his discussion of topics including the soul, the religious ethics of artificial intelligence, and the function of science fiction on informing audiences’ spiritual sensibilities all remain (relatively) timeless. To start, he addresses the unique challenges of working across disciplines in pursuit of analyzing popular culture currently, then shifts to an exploration of religion’s study in the future. Along the way, McGrath and interviewer A. David Lewis namecheck famous characters such as Captain Kirk and Doctor Who in the effort to illustrate complex notions of the soul embedded in secular entertainments. Enjoy a trip to the past — that looks to the future!

You can download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us. And remember, you can use our Amazon.co.ukAmazon.com, or Amazon.ca links to support us at no additional cost when buying academic texts, Chia Pets, hot sauce, and more.

Popular Culture Studies and Bruce Springsteen: Escaping and Embracing Religion

Kate McCarthy in 2013, shortly after the re-release of her co-edited volume God in the Details. However, listening back to this unreleased (until now!) interview, her commentary both on the metamorphic nature of popular culture studies and on the music of Bruce Springsteen remain salient and fresh even today. With “the Boss” having just finished his tour in support of the re-released The River and a new solo album planned, it seemed fitting to unearth this interview between McCarthy and A. David Lewis, tracking Springsteen’s relationships to the Church and to women.

This interview was recorded by A. David Lewis – who has been an interviewee on the RSP twice in the past – for a separate project. As fate would have it, the interview has made its way into our hands and we are delighted to bring it to you now.

Video Games and Religious StudiesReligion and Film, Religion and Literature,Visual Culture and the Study of Religion, Religion and Comic Books, and Religion and Cultural Production. You can download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us . And remember, you can use our Amazon.co.ukAmazon.com, or Amazon.ca links to support us at no additional cost when buying academic texts, ornaments, puncture repair kits, and more.

 

Outside the Panels: Comics and Context

rcrumb

At several points during his most recent interview with the Religious Studies Project, A. David Lewis alludes to the prominence of religious themes and images in comic books. In fact, if anything, Lewis downplays just how obvious the connection is. There are at least three intersections. Firstly, and explored at length in this interview, are the implicit and frequent utilisation of religious and mythical stories – particularly concerning death and rebirth – recast with superheroes rather than deities, and often reframed in scientific (or “scientistic”) language. Second, explicit religious narratives are frequently found in comics – consider Will Eisner’s A Contract with God, Craig Thompson’s Habibi, Robert Crumb’s literal presentation of Genesis or more prosaically, Marvel’s Thor. Not forgetting the ubiquitous Christian fundamentalist comics, or Chick Tracts after their primary producer Jack Chick, which due to their massive print runs are often considered to be the world’s most-read comics. Finally, comic books frequently include alternative or heterodox religious ideas, something underscored by the fact that two of the most acclaimed writers working today (Alan Moore and Grant Morrison) are practising magicians, and their work frequently contains references to their practises.

For some reason, then, there is something about comics that makes them particularly suited to discussing such ideas. Here, I will suggest some structural reasons why this might be the case. But I will also present a more sociological possibility, that comics and a heterodox approach to religious ideas go hand in hand, because both are typical features of the cultic milieu (Campbell 1972). As such, the analysis of religious themes in comic books needs to go beyond merely structural analyses.

Structural connections

gmorrison

from Grant Morrison’s ‘The Invisibles’

Darby Orcutt’s chapter, “Comics & Religion: Theoretical Connections” (in the Lewis-edited Graven Images), suggests two reasons why the comics medium is particularly suited to narratives concerning religion. Firstly, drawing from McCloud’s seminal Understanding Comics (1993), he argues that comics allow a greater degree of identification than would be possible with a movie or a novel because of their ability to be deliberately vague about certain aspects.

McCloud notes that the iconic, simplified faces of the protagonists typical of the Japanese Manga comics style makes the protagonist more easily relatable, and this might suggest one reason for the many comics with simplistic protagonists in more realistically drawn worlds (Cerebus the Aardvark, Concrete, Bone, etc).

A second factor outlined by Orcutt is the manipulation of the readers’ perception of time and space. In comics, time can be slowed down and sped up, and future and past can be shown side-by-side. Moreover, by utilising the gutter – the space between the panels – it becomes very easy for the mythical world to be shown, literally outside of the bounded time of the panels, but interacting with the present. Douglas Rushkoff’s Testament makes great use of this technique, as does Alan Moore’s Promethea, from which the following page is drawn.

AMooreOne particularly striking and effective version of this – which also includes Lewis’ comment that comics seem unusually aware of the limitations of the genre – is to have enlightenment illustrated by having the characters fall out of the 2D, panel-bound pages, and see them from the three-dimensional point of view of the reader. This happens in Moore’s Promethea and Morrison’s The Invisibles, but there are many other examples. A striking variant found in recent works by both, Moore’s League of Extraordinary Gentlemen: The Black Dossier and Morrison’s Superman Beyond, have used 3-D colouring techniques to indicate when a character has stepped from the ‘flat’ world of the comics page and out into a world with (literally) more depth. While there are many literary examples of such metatextuality – notable examples being the characters meeting their author in Alasdair Gray’s Lanark and Stephen King’s The Dark Tower, although acknowledgement that the text was in fact a text dates back to Don Quixote, at least – the characters do not step off the page in quite the same way. Perhaps this is because comics combine both text and images, so one can be played off another. Interestingly, both Moore and Morrison take this further than mere analogy, and argue that when viewed from a higher level, we the readers are literally works of fiction ourselves… But that is a post for another day.

comics

Cultic milieu

As noted above, however, comics concern themselves disproportionately with heterodox and alternative religious ideas – lots of ‘funny ideas’ in these ‘funny books’. Comics are as much a part of the cultic milieu as alternative religions (see Kripal’s recent Mutants and Mystics) – what better place for ‘not real religion’ than in ‘not real literature’? As indicated by the frequency of the descriptor “alternative”, the cultic milieu exists not as a free-floating pool of religious ideas, but to a considerable degree as that which is self-consciously alternative to the social norm.

From this point of view, it is not so surprising that comics would be so prominent. Comics and cartoons (their non-sequential variant, although this is not always so clearly delineated) have a long history of operating as social critique, a tradition that goes back to Hogarth in the mid 18th century, and most recently played out in the Charlie Hebdo affair. I therefore ask, if the religious narratives concerned here operate in some way as a critique of more traditional religious narratives and institutions, does this therefore indicate that this critique is a particular concern among the demographic who read comics? Indeed, comics traditionally have a strong anti-clerical bias (Wilson 2010), suggesting an active attempt to reclaim these symbols of transcendence from elitist discourses. So long as we focus only on structural or narrative similarities, we may be missing the most interesting points.

Like religion(s), comics do not exist as sui generis artefacts, separate from their cultural context. We cannot treat them as naive material artefacts, nine-panel hierophanies which “manifest” or “embody” some eternal religious essence, but as a part of a much larger discourse on “religion” (term, not thing) – which goes on both in elite, official cultural products and unofficial, alternative ones, like comics. Therefore it is vitally important for a non-essentialist and non-elitist study of religion that we consider comics in their cultural and historical context. Without that, structural analyses may be merely repeating hegemonic categories and structures of power. As scholars we need to fall off the page, and see the panels which form the boundaries of our thought.

References

Campbell, C. (1972) “The Cult, the Cultic Milieu, and Secularization.” in A Sociological Yearbook of Religion in Britain 5. (London: SCM Press), 119-136.

McCloud, S. (1994). Understanding comics: [the invisible art]. (New York: HarperPerennial).

Orcutt, D. (2010) “Comics and Religion: Theoretical Connections.” In Lewis, A. D., & Kraemer, C. H., Graven images: Religion in comic books and graphic novels (New York: Continuum), 93-106.

Wilson, G. W. (2010) “Machina ex Deus: Perennialism in Comics.” In Lewis, A. D., & Kraemer, C. H., Graven images: Religion in comic books and graphic novels (New York: Continuum), 249-257.

 

Comics and the Superhero Afterlife

Comic books are reliable. Every month readers can expect another installment of their favorite comic on the shelves. Characters facing insurmountable odds will find a way to victory. Nemeses will be defeated. And should a hero die, they are likely to be re-born. In some sense, to be a hero is to be immortal. Even extraordinary humans such as Bruce Wayne (Batman), find their identities preserved for all time by turning the secret hero’s mask into a mantle to be bequeathed on worthy successors. One widespread trope has been much ignored by comic fans and scholars–the journey to the afterlife. Like the katabasis or descent into the Underworld of Orpheus, Odysseus, Gilgamesh, Theseus, and dozens of other mythical figures, modern comic book superheroes routinely journey to heaven, hell, and other landscapes of the afterlife.

A. David Lewis, comic books are presented as an irreplaceable cultural medium for engaging with issues of mortality, identity, subjectivity, and cosmology. In the pages of comic books, Lewis explains, the popular elements of the journey to the afterlife become surfaces upon which can be written a kind of “special reality” whose artificiality makes it possible for readers (and writers) to have discussions about serious issues but never fully commit to the vision of the comic books. For Lewis, that so many different versions of this journey exist but have yet to be readily acknowledged speaks to the major tensions in western culture. One central concern, he maintains, is the unspoken effort to preserve models of self that are unified. “We don’t want see our selves as multiples,” says Lewis. We want to be unified, “whole individuals.” And yet recent work on healthy multiplicity by Helene T. Russell and J. Hills Miller suggests that by accepting “people [as] constructed by many selves” we can further the work of religious pluralism and enhance inter-religious and inter-cultural dialogue.

comicFor those who may still see comic books as unworthy material for serious scholarship, A. David Lewis’ recent work (2014’s American Comics, Literary Theory and Religion: The Superhero Afterlife or his 2010 co-edited collection Graven Images) should be a warning to re-think your position. With an overwhelming slate of comic book driven television series (Walking Dead, Gotham, Flash, Green Arrow) and a rising tide of superhero films and franchises (X-Men, Fantastic Four, and the Avengers), there has never been a more essential time to recognize the cultural merits of comic books and seek out their academic rewards.

Listeners might also be interested in our previous interview with A. David Lewis on “Religion and Comic Books“, and also recent interviews with Carole Cusack on “Religion and Cultural Production” and Alana Vincent on “Religion and Literature“. You can also download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us. And remember, you can use our Amazon.co.uk, Amazon.com, orAmazon.ca links to support us at no additional cost buying comic books, pizza cutters, incense sticks and other cultural products.

Religion and Comic Books

graven-imagesWhat better way to end our series on Religion and Cultural Production than with a podcast combining two of my favourite topics – religion and comic books (and we will have none of your middle-class renaming “graphic novels” round RSP HQ)! Today, RSP assistant editor Per Smith talks to A. David Lewis and attempts to delineate an emergent and very rich sub-discipline.

While some comic books tell traditional (or invented) religious stories, others touch upon religious themes more indirectly. In discussing the many ways that this relationship can unfold David touches upon broader issues of interest to religion scholars like the place of imagery within religious traditions. Prohibitions against certain types of religious images can, for instance, pose challenges to comic book artists desiring to tell certain kinds of religious stories. He also delves into the superhero archetype, and discusses how the comic book genre is particularly suited to tell stories of a mythological character.

And what does any of this have to do with Scientology?

You can also download this interview, and subscribe to receive our weekly podcast, on iTunes. If you enjoyed it, please take a moment to rate us. And remember, you can use our Amazon.co.uk or Amazon.com links to support us at no additional cost when buying any of the excellent comics mentioned in this podcast.

This podcast concludes our series on religion and cultural production, featuring interviews with Michel Dejardins on Religion and FoodFrançois Gauthier on Religion, Neoliberalism and Consumer CulturePauline Hope Cheong on Religious Authority and Social Media, and Carole Cusack on Religion and Cultural Production.