S. Brent Plate is a writer, editor, and visiting associate professor of religious studies at Hamilton College. His books include Representing Religion in World Cinema: Filmmaking, Mythmaking, Culture Making (2003); Blasphemy: Art That Offends (2006); and A History of Religion in 5½ Objects: Bringing the Spiritual to Its Senses (2014). Plate is also cofounder and managing editor of the journal Material Religion: The Journal of Objects, Art, and Belief.

Peter Matthews, University of the Arts London:
Spiritual questions are still anathema to most film theorists. On the other hand, many religious scholars who dabble in cinema have treated it illustratively and shown a blunt insensitivity to the specifics of film form. This book is exemplary in the cogent and creative way it builds a bridge between these two alienated intellectual worlds. Plate’s unfailingly perceptive mise-en-scène analysis discovers the visual mythologizing at work in an eclectic filmography ranging from George Lucas to Dziga Vertov and Stan Brakhage. At the same time, he remains critically aware of politics and ideology, attempting a more inclusive definition of religion that goes beyond the dogmatic and the doctrinal. A wonderfully syncretic study that offers an amazing bricolage of ideas.

William Paden, University of Vermont:
A truly compelling comparative study. The analogues between filmic and religious worldmaking are richly illuminating, bringing the reader to fresh insights about the structure and dynamics of both mediums. Setting aside the customary approach of simply analyzing religious themes in movies, this volume compares mythic and ritual ways of constructing a world with cinematic processes such as framing, focus, editorial selection, lighting, camera angle, voice, use of time and space, and iconicity—doing so with lucidity, ingenuity, and masterful use of a repertoire of interpretive frameworks.

David Chidester, author of Authentic Fakes: Religion and American Popular Culture:
Plate gives us the best introduction into the exploration of religion and film by brilliantly interweaving the worldmaking of religious myths and rituals, sacred times, and spaces, with the worldmaking of cinema. Insightful and illuminating, Religion and Film helps us to understand the stagings, structures, and embodiments of film in the light of religion and to rethink the dynamics of religion in the light of film.