The Synoptic Jesus and the Celluloid Christ: Solving the Synoptic Problem Through Film

Abstract

Study of the Synoptic Problem is often thought to be outdated, irrelevant and dull. We know the solution and we ought to spend time on newer, more exciting approaches to the New Testament. Yet one of those newer approaches, the study of the New Testament in film, provides surprising possibilities for Synoptic study by allowing us to explore a more three-dimensional model of Synoptic relationships. Jesus films variously harmonize, epitomize, omit, change and manipulate in a creative interaction with the synoptic texts, the study of which sheds new light on those texts and the relationships between them. This article introduces a fresh way of looking at the Synoptics by focusing on the treatment of the Sermon on the Mount in five Jesus films, and comparing it with Luke's treatment of the Sermon on the assumption that he, too, has a copy of Matthew's Gospel. Luke's handling of the Sermon has several features in common with the Jesus films' handling of the same material, specifically relocation, abbreviation, redistribution, restructuring and the enhancing of dramatic elements. This provides us with a stimulus to re-think the common yet dubious claim that, on the assumption that he knew Matthew, Luke's redaction of the Sermon on the Mount is inexplicable.

The Marcionite Gospel and the Synoptic Problem: A New Suggestion

“…Although Goodacre's observation is correct that three chapters of un-interrupted speech is a nightmare for somebody who wants to tell a story, his solution that Luke broke up Matthew's narrative order for dramatic reasons is not convincing: he assumes that Luke, knowing Mark better and for a longer time than Matthew, used the Markan narrative as the backbone in which he inserted some of the material from the Sermon on the Mount. 57 Th is auxiliary argument undermines his main approach of Luke being dependent on Matthew. Th e dispersion of the Lukan parallels from Matt.…”

Empire, Messiah and Violence: A Contemporary View

“…9. Cf e g Goodacre (2000). A number of other debates and controversies are deliberately avoided here, such as whether modern art, and films in particular, mirror the violence already present in society, or contribute to and even stimulate it (cf however Warren 1997: esp 122-151).…”