Page - 158 - in JRFM - Journal Religion Film Media, Volume 02/02

158 | Sofia Sjö www.jrfm.eu 2016, 2/2, 155–160 nevertheless, leaves the reader, or at least this reader, looking for a deeper ar- gument that does not seem to be there. Religion and film scholars have sometimes been accused of telling audiences what they will see in films, particularly which religious readings they will make of a film. Lately, more and more scholars have realized that films can be viewed and understood in many different ways and what viewers see will depend on what they bring to the viewing experience. Downing is not interested in recep- tion and it would be a misrepresentation to say that she claims that viewers will always see what she herself notes in a film. Yet, like many theologians before her, she also sometimes takes on the role of preacher, not of the theological message, but of the filmic and material message of films. This does not under- mine her main points, but it does open her up for some of the same critique many religion and film scholars have been confronted with before her. The fact that Downing highlights the need to understand the medium in order to be able to understand what we see and how we can see differently should make it clear that there are many ways of seeing a film. Statements about what a viewer will necessarily see are therefore problematic. Despite these partial flaws in tone and focus, Downing’s study Salvation from Cinema is still very much called for and urgently needed in today’s religion and film research. I believe it can work as inspiration for scholars who are teaching religion and film and are writing in that field, showing possible ways of becom- ing more aware of how film functions. Together with an introductory book on film language and theory, it can help young scholars in the fields of theology and religious studies begin with a religion and film analysis that gives room for more than just story. Focusing on narrative, as Downing and many before her have argued, only brings us so far when studying film, an audio-visual medium. By paying attention to the complexity of the film medium and how this medium works, new doors can be opened for research in this field. This is not to say that we have to accept McLuhan’s, in many ways reductionist, argument that the medium is the message, but it does mean that we cannot ignore his point ei- ther. The medium is never the entire message, but if we do not understand the medium, we are likely to misunderstand or miss some of the message. BIBLIOGRAPHY Campbell, Heidi, 2012, Digital Religion. Understanding Religious Practices in New Media Worlds, London: Routledge. Granholm, Kennet/Moberg, Marcus/Sjö, Sofia, 2014, Religion, Media and Social Change, London: Routledge. Lyden, John, 2009, The Routledge Companion to Religion and Film, London: Routledge.