From the Word to the Televisual Image: The Televangelists and Pope John Paul II

Abstract

Until the beginning of the twentieth century Christianity, in order to proclaim its message, was based above all upon the word, the substance of prayer and preaching; certainly manuscripts, with the Scriptures and other fundamental texts, long secured the foundations of the faith, but before the advent of printing their diffusion and reception remained the prerogative of lettered elites, most often clerics such as the Benedictines (remember Umberto Eco's famous novel published in 1980, The Name of the Rose). Moreover, the Catholic Church made extensive use of the image in the Middle Ages, above all in the gothic period, and created remarkable visual splendour in its holy places. Stained glass windows and paintings and sculptures with subjects from the Old and New Testaments reinforced the devotion and faith of the illiterate. It was only after 1450, with Gutenberg's invention of printing - which, moreover, immediately disseminated bibles, missals and prayer-books - that the text became a major means of transmitting the Christian message. From the sixteenth century onwards Protestant Calvinists (but not Lutherans or Anglicans) rejected religious imagery - even the crucifix - as a means of devotion, for they were considered idolatrous; on the other hand, the reformers, more than the Catholic Church, laid stress on the reading of biblical texts by the faithful, especially the Old Testament, henceforth much more widely distributed, thanks expressly to printing. Admittedly the word did not lose its rights; like Catholicism in its churches and cathedrals, the Reformation preached the Good Word in its temples. Yet paradoxically, the present return of the religious image - this time televisual - was to be first of all a Protestant occurrence, principally in the United States.