Abstract
This chapter focuses on the major stations of cinema's confrontation with religion and church. Important impulses came from Western European Enlightenment, scientific Positivism, and aesthetic Modernism. The basic law of this impact will serve as the basis for Eisenstein's investigation of the arts and sciences from the most diverse cultures and epochs. The movie stimulated an exceptionally broad and intensive social debate in Russia, which can be seen as proof of the longing to engage with religious and ethical questions; but also as proof for a cinematic culture that tied in with Russian traditions and subjects again. More often however, recent film productions that explore spirituality and religion lack serious artistic ambitions, the most obvious example being Slava Ross' Sibir. The chapter explores these very confrontations, working only with those films which place religion at the center of the narration. Keywords:Eastern European; historical survey; movie; politics; Religion; Russia
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