Freia Serafina – Feminism and Religion

The Case for Women’s Visionary Films by Freia Serafina

Power in the woods.
Creation of artist Jym Davis.

As a film history professor, I am intimately aware that women’s representation on screen is historically lacking. While preparing to teach a new course, I found myself hard-pressed to uncover significant academic discourse that highlights the divine feminine that doesn’t solely live in the realm of a Christian worldview. Indeed, film scholar Tenzen Eaghll points out that much of the existing scholarship from the past 100 years “all tend to equate religion with Christian theology in some manner, and … focus[es] narrowly upon Christian themes such as Jesus, salvation, faith, etc.” He states that scholars of religion and film essentialize all religion as Christianity, and that many scholars of cinema additionally speak of religion as an all-encompassing umbrella organization giving us a condensed notion of a shared theological worldview, devoid of nuance and alternate meaning. Eaghll goes on to argue, as I do, for a more critical approach to the study of film that requires us to pay closer attention to how “representations of religion in film conceal issues of race, class, gender, colonialism, secularism, and capitalism – common themes in ideological critique – as well as notions of origin, authenticity, narrative, violence, and identity.” I believe the solution lays in the inclusion of women’s visionary films.

Women’s Spirituality in the Film Classroom by Freia Serafina

Freia presenting at Princeton Theological Seminary for the American Academy of Religion, Regional Conference

Recently tasked with the co-creation of a film ethics course, I thought extensively about what material would best serve film acting students in a New York City Conservatory. I wanted to include films that would focus on diversity, story inclusivity, and encourage them to wonder if what they saw on screen impacted or influenced their reality. In a course centered on ethics, religion and spirituality tend to enter the conversation. This entrance provided me with the opportunity to introduce a plethora of women’s visionary films that would be used to examine the spiritual lives of women and how religion and spirituality impact the film narrative. Women’s visionary films can be defined as films that are “written, directed, and/or produced primarily by women and share women’s vision of realities. The sacred themes of these films, in diverse cultural contexts, engage women’s self-reflective use of the arts to convey greater insight into the colors, shapes, emotions, and spirituality of women’s lives—women’s imagination, suffering, hopes, beliefs, and dreams.” (Mara Keller, 2018)

Reclaiming Forgotten Voices by Freia Serafina

Last night I found myself crying over Tiamat. Tiamat is one of the most ancient Babylonian Creatress Goddesses. She is known as the Goddess of the Salty Sea and is considered the primordial Creatress in Sumerian religion. Tiamat was slaughtered in the vilest of ways to demonstrate the death of the Goddess and the rise of the God. She was defiled and written about in such a way as to discredit women and provide justification for the slaughtering, defiling, and enslavement of “enemy” women abroad and “bad” women at home.

As I was reading Carol Christ’s Rebirth of the Goddess, I found myself shaken to the core at the ways in which Tiamat was defiled and destroyed in the “epic” called the Enuma Elish. As someone who is well aware of the ways in which the Goddess and women have been usurped throughout time and space, I was still so broken down after reading it that I had an actual ugly cry in my living room. I want to tell you to read the Enuma Elish to understand why I feel this way, but I also want to warn you about the way you might feel afterwards. It is a difficult read.

The Uses of Color On Screen by Freia Serafina

We have to thank a woman named Natalie M. Kalmus for her contributions to the development of color on screen. Being a woman and the executive head of the Technicolor art department in the 1930’s was nothing short of extraordinary, and, in 1935 she released a document titled Color Consciousness in which she explored color theory and the use of color on screen. And, while this was illuminating and groundbreaking at a time, we also have some serious problems with the document that need to be re-examined from an anti-racist and feminist perspective.

Kalmus tells us how and when to use color given that particular color’s moral and psychological associations. She tells us that different colors evoke emotional reactions from the audience because these colors paint a realistic worldview. This presents a problem because, if, as Kalmus suggests, the usage of color and its associations represent a realistic worldview then the worldview Kalmus presents is an inherently racist one. Kalmus writes that black “… has a distinctly negative and destructive aspect. Black instinctively recalls night, fear, darkness, crime. It suggests funerals, mourning. It is impenetrable, comfortless, secretive.” In stark contrast to the color black, Kalmus writes that white “… reflects the greatest amount of light, it emanates a luminosity which symbolizes spirit. White represents purity, cleanliness, peace, marriage… White uplifts and ennobles, while black lowers and renders more base and evil any color.” To put it simply: black is evil and white is good. What does any of this have to do with spirituality? Well, the way we think and feel about color and how characters are depicted on screen taps into our psychological understanding of how “good” or “bad” a color is. This trickles over into our magical and spiritual practices with the notions of “Black Magic” vs. “White Magic.” We often associate someone who practices black magic as someone who works with dark or evil forces, and white magic with someone who practices magic for the good of others.