Seite - 111 - in JRFM - Journal Religion Film Media, Band 06/02

Book Review: God on the Big Screen | 111www.jrfm.eu 2020, 6/2, 110–113 These broad time periods and titles might suggest a rather generalizing approach to the material, with varied films brought together to tell one sto- ry. However, the titles of the chapters function to highlight a common sense of the era they address, while the subsections illustrate a great deal more interpretative variety, noting, for example, how genre affects the use and portrayal of prayer. These subsections are not just genre-specific but also tie in with aspects of belief and trends in American Christianity. Thus, for example, subsections in chapter six, “Revival of Prayer (1976–1988)”, include “Country Prayers”, “Adventure Comedy Prayers”, “Mischievous Prayers”, “Liberation Theology”, “Horrible Prayers” and “Muscular Christianity”. What can we learn by focusing on prayers in films? Lindvall’s study is clear that prayer changes over time. Prayers are more common at certain times and somewhat less usual at others, more sincere in one setting and less so in another. However, this work highlights that prayers remain preva- lent throughout the history of Hollywood film. That framework might make this conclusion less surprising: these films do after all emerge from a North American context that has long been marked by religiosity more than many other Western contexts. Still, the recurrent use of prayer in films also un- derlines how prayer quickly became a staple of film language. Prayer can express central aspects of a character, whether the prayer is linked to true devotion or not. As Lindvall discusses towards the end of his impressive cinematic overview, today people even seem to turn to film to learn how to pray. Prayer may be becoming less common in the “real world”, but it lives on on the silver screen, shaping its audience’s views on faith and religious practice. Lindvall’s study is impressive on many counts. He discusses a remarkable number of films, but he also places those films in a wider context, an ap- proach that brings the study to life. Perhaps not surprisingly, since this vol- ume treats hundreds of films from a period of almost 120 years, it cannot explore in-depth. It still manages, however, to highlight many noteworthy points, relating to both genre and historical events. To take one example, in chapter 2, “Censored Prayers (1927–1939)”, Lindvall shows how films could of- fer escape through both family-friendly dramas and horror stories, but notes that some filmic representations also captured the feeling of the time that something was amiss. The Production Code restricted how religion could be represented, but films still managed to hint that churches were not attending to the problems of the time and to the many marginalized people in need. Children’s prayers in particular were at times allowed to express both devo-