Scoring Transcendence: Contemporary Film Music as Religious Experience

An earlier version of this book review appeared in Film Interernational, Nov. 13, 2013 (http://filmint.nu/ ?p=10038). It appears here by permission. Author Notes Brandon Konecny recently graduated from the Film Studies program at the University of North Carolina Wilmington. He is a two-time scholarship recipient of the Fluor Scholarship Foundation, winner of the UNCW Award for Excellence in Film Studies, and received the Excellence in Scholarship Award at the 2013 Visions Film Festival and Conference. He is currently an ‘In the Field’ Writer for Film International, and frequently researches such topics as postwar American avant-garde film, Eastern European cinemas, theological film criticism, Žižekian film theory, Cinema Novo, twentieth-century popular music, and fandom studies. His work has appeared in the Monroe Enquirer Journal, Film International, Film Matters, and Intellect’s Journal of Fandom Studies (forthcoming). This book review is available in Journal of Religion & Film: http://digitalcommons.unomaha.edu/jrf/vol18/iss1/39 “For his invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made” (Romans 1:20). In recent years, theology has effective exegetic tool and an intriguing cultural form worthy of the field’s attention, brought with it the appearance of a bourgeoning interdiscipline’s bibliography engagement with film music. In fact, Sound: Music and Meaning Making in Film for an Emerging Discipline, the topic book, Scoring Transcendence: Contemporary Film Music as Religious Experience taken a growing interest in cinema, viewing it as number of stimulating works. However, the size of the remains, at best, modest, and even smaller besides Barry Taylor’s lackluster essay “The Color of ” from Reframing Theology and Film: New Focus remains well-nigh untouched. But with his impressive new both an and this has