Abstract
AbstractReferences to and images of eyes and of blindness and seeing (including natural sight, clairvoyance, and artificially recorded images) play significant parts in Stephen Spielberg's 2002 movie, Minority Report. Based on Philip K. Dick's story, "The Minority Report," the movie plays with familiar Dickian paradoxes of fate and freedom, and of truth that conceals and/or makes itself false. The gospel of Mark also features similar paradoxes of "blindness and insight." This essay plays Spielberg's movie against Dick's story, and the mutual relation between them against Mark's gospel, with the goal of exploring Mark's function as a "minority report" (in more ways than one) among the synoptic gospels, as well as the Christian "captivity" of the gospels in the canon.
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