Abstract
ABSTRACT This essay argues that the Christian independent film series God’s Not Dead operates to further affective investment in white Christian nationalism. I combine Lundberg’s (2009) analysis of evangelical publics with Kelly’s (2020) concept of ressentiment to explore how the series acts as performances of white Christian marginality Further, the felt marginality of conservative Christians in the series is aligned with civil rights movements and identity politics. I argue that the God’s Not Dead series is an illustrative example of how media in the conservative Christian culture can operate to maintain investments in white Christian nationalism that can motivate political action and justify violence.
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