From Brett McCracken’s blog The Search:
Jack Hafer has been a Christian working in the film industry since the 1980s (you may have seen his 2003 film To End All Wars). He’s also the current chair of the film department at Biola University, an evangelical college with an impressive track record for producing graduates who find success in Hollywood. For my book Gray Matters I asked Hafer to categorize different approaches Christians have taken to film & filmmaking, and he described three. Below I’ve summarized his three approaches, plus a fourth that I have personally observed.
Which do you most resonate with?
1) Message-centric: Some Christians are only interested in films insofar as they explicitly preach the gospel or relay an unmistakably biblical message. This approach typically downplays aesthetics in favor of unmissable morals, preferring didactic direct-ness to subtlety. Good films are evangelistic films. Examples: Thief in the Night; Fireproof.
2) For the common good: This approach doesn’t focus on evangelism as much as whether or not a film has overall positive values for the common good. “In Hollywood it’s easy to make temptation look enticing, but challenging to make goodness look attractive,” notes Hafer, but “that’s a challenge this approach takes on.” These are films not made for the church but for wide audiences, espousing broad but generally Judeo-Christian values, where good triumphs over evil. Examples: Indiana Jones, The Blind Side.
3) Religious in content: This approach favors films that feature religious elements or plotlines: movies about Christians, preachers, nuns, monks, Joan of Arc, etc. This approach sees value in films that make religious sentiments look attractive, or create a sense of awe, longing, and wonder about the transcendent. These films need not be preachy, but often compellingly portray stories of faith. Examples: The Way, The Diary of a Country Priest.
4) Aesthetically transcendent: In this approach, “sacred” films are those which — through style, exceptional artistry or powerful narrative — evoke feelings of transcendental longing akin to what Germans call sehnsucht. They are films so beautiful and evocative that the viewer is brought to a place of sublime stasis or spiritual contemplation. Christians who favor this approach are less interested in specifically Christian messages or plotlines than they are with true, powerful portrayals of beauty and longing. Examples: Tokyo Story, The Tree of Life.