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Religion, Film, and Ecological Catastrophe
Religion, Film, and Ecological Catastrophe
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Description
How can film and cinema help us think through ecological crises in religious and theological terms?
In this book, Brett David Potter pairs ecological insights from religious stories or rituals with an example from a recent film with the goal of bringing the ancient and modern into a generative conversation. Tracing religious and literary themes (such as the tree of life, the great flood, the barren desert, and the revenge of the creatures), Potter asserts that the use of religious metaphor, imagery, and allegory remain prevalent within climate cinema.
Accessibility Information
Additional accessibility information
- PDF/UA-2, 1.4
- accessibility@bloomsbury.com
Hazards
The publication contains no hazards
Support for non-visual reading
Has alternative text descriptions for images
Navigation
- Page list to go to pages from the print source version
- Elements such as headings, tables, etc for structured navigation
- All or substantially all textual matter is arranged in a single logical reading order
Table of Contents
1: The End is the Beginning
2: Back to the Garden
3: Film and Religious Ecologies
4: The Great Flood
5: Desert Places
6: Apocalypse
7: Revenge of the Creatures
8: The Ethics of the Creaturely
Conclusion: Hope
Product details
| Published | 12 Nov 2026 |
|---|---|
| Format | Ebook (PDF) |
| Edition | 1st |
| Pages | 176 |
| ISBN | 9798216265177 |
| Imprint | T&T Clark |
| Illustrations | 5 bw illus |
| Series | Theology, Religion, and Pop Culture |
| Publisher | Bloomsbury Publishing |
About the contributors
Reviews
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This book illustrates the power of film to amplify, animate, and augment existing ecotheological wisdom. From the incarnational logic of Avatar to the way that Jurassic Park undercuts presumptions of human centrality, Brett Potter brings ecocritical exegesis of filmic texts into seamless conversation with multiple religious traditions. In the process, he demonstrates how eco-cinema can be apocalyptic in the best sense of the word: not merely a rendition of violent ends, but an unveiling of deeper truths.
Timothy A. Middleton, University of Oxford

























