Gibson's passion: Flogging a dead horse?

Abstract

Summary This article attempts to place Gibson's The Passion of the Christ in a more objective context, by attempting to focus on the real significance of Gibson's film in the light of Christianity's theological import and its possible interpretation(s) for a contemporary Western world. In this regard, the film is evaluated from a number of interrelated perspectives, viz: Gibson's avowed intentions, historical accuracy, the known development of the canonical Gospels, the theological teachings of both contemporary and sectarian Catholics and most importantly, the phenomenon of the film itself. The author concludes that Gibson, who clearly views his faith through the mediation of often violent film imagery, rather than serious theological insights, has pandered to the needs of a cinema‐going public that is largely incapable of responding to subtlety because it has become visually punch‐drunk by so much celluloid brutality and technological special effects. As a result, this film undermines its own purpose of conversion to Christianity due to its message of hate, violence and bigotry. In addition, it has the potential to undermine any reconciliation between Jewish and Christian groups.