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Almost as soon as moving pictures were invented, the medium was used to portrayal the story of Christ, and Mary Magdalene was represented on screen. She appears first in the hand-tinted film Vie et Passion du Christ (dir. Ferdinand Zecca and Lucien Nongue, 1902–1905), about 17 minutes in, as
1 Introduction 1 This article investigates the ways in which Mary Magdalene is characterized in line with white feminism, and as such, the ways in which this white Mary is weaponized against Jews and Black people. Rafia Zakaria defines white feminism in this way: A white feminist is someone
1 Introduction In this article, I provide a snapshot of how Mary Magdalene was understood in 1970s Britain through some of the most prominent and at times controversial presentations, particularly in Monty Python’s Life of Brian (1979). To get a glimpse of how Mary Magdalene was understood in
Mary Magdalene occupies an integral place in almost all Jesus film and media even though the Gospels provide scant information about her. Filmmakers have fleshed out the character in various ways and, in the process, have projected onto Mary contemporary ideas about women, sexuality, and faith
the abbey’s history. The display of the Holy Tear for pilgrims did not take place within the choir where the shrine was kept, but rather in the north ambulatory nearby the chapel dedicated to Mary Magdalene, located across the aisle to the east (figs 3.1, 3.2, and 3.5). The choir screen, the chapel
The NT includes 12 references to Mary Magdalene, all of which occur in the Gospels. She is differentiated from other biblical Marys by reference to what was apparently her hometown, the city of Magdala on the northwest shore of the Sea of Galilee. Luke 8:1–3 and Mark 15:40–41 both name Mary
on Mary Magdalene in film. The absence, however, gives me pause and has led to a somewhat troubling reflection. Perhaps, biblical film criticism does not yet have a tradition with which one must interact. Nonetheless, for those who wish to pursue the cinematic Mary Magdalene further, seminal works
Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.