By John Whalen-Bridge
Discusses either depictions of Buddhism in movie and Buddhist takes on a number of films.
In 1989, an identical yr the Dalai Lama used to be provided the Nobel Peace Prize, a decade-long growth of movies devoted to Buddhist humans, heritage, and tradition started. delivering the 1st scholarly remedy of Buddhism and cinema, the editors suggest that there are forms of Buddhist movie: those who are approximately Buddhists and those who are usually not. Focusing on modern American choices, the participants expand a two-pronged technique, discussing how Buddhism has been captured via administrators and proposing Buddhist-oriented opinions of the worlds represented in movies that may look to haven't any reference to Buddhism. movies mentioned diversity from these set in Tibet, resembling Kundun and Lost Horizon, to these set good outdoor of any Buddhist milieu, corresponding to Groundhog Day and The Matrix. The participants clarify the Buddhist theoretical strategies that emerge in those works, together with karma, the bardo, and reincarnation, and think about them when it comes to interpretive techniques that come with feminism, postcolonialism, and contemplative mental techniques
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Additional info for Buddhism and American Cinema
Through her voice-overs, Le Ly offers a view of Buddhism as a set of religious beliefs and practices that serve as a highly spiritual, morally inclined guide by which she lives her life. Vietnamese Folk Beliefs and Buddhism To accentuate authentic Vietnamese folk beliefs tied to Buddhist religious teachings, despite an occasional conflict with formal Buddhist theology, the film opens with a rolling prologue: This film is based on the true life story of Phung Thi Le Ly Hayslip, from Ky La, a rice-farming village in Central Vietnam.
We could say that many of these films occupy a semiotic “bardo” space between the films that are intentionally Buddhist (both in terms of representation and thematic/philosophical emphasis) and films that are not about Buddhism but that can be usefully understood from a “Buddhistic” point of view. Chapter 5 is “Momentarily Lost: Finding the Moment in Lost in Translation,” by Jennifer L. McMahon and B. Steve Csaki, and it provides a close reading of Sofia Coppola’s Lost in Translation (2003) in relation to Buddhist concepts of momentariness and selflessness.
The conviction that we know the truth and that those who do not share our beliefs are wrong has caused a lot of harm. When we believe something to be the absolute truth, we have become caught in our own views. If we believe, for instance, that Buddhism is the only way to happiness, we may be practicing a kind of violence by discriminating against and excluding those who follow the other spiritual paths. When we are caught in our views, we are not seeing and understanding in accord with reality.