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2018, NYU Press
Opened to the public in July 2016, Ark Encounter is a creationist theme park in Kentucky. The park features an all-timber re-creation of Noah's ark, built full scale to creationist specifications drawn from the text of Genesis, as well as exhibits that imagine the Bible’s account of life before the flood. More than merely religious spectacle, Ark Encounter offers important insights about the relationship between religion and entertainment, religious publicity and creativity, and fundamentalist Christian claims to the public sphere. James S. Bielo examines these themes, drawing on his unprecedented behind-the-scenes access to the Ark Encounter creative team during the initial design of the park. This unique anthropological perspective shows creationists outside church contexts, and reveals their extraordinary effort to materialize a controversial worldview for the general public. Taking readers from inside the park’s planning rooms to other fundamentalist projects and diverse Christian tourist attractions, Bielo illuminates how creationist cultural producers seek to reach both their constituents and the larger culture. The “making of” this creationist theme park, Bielo argues, allows us to understand how fundamentalist culture is produced, and how entertainment and creative labor are used to legitimize creationism. Through intriguing and surprising observations, Ark Encounter challenges readers to engage with the power of entertainment and to seriously grapple with creationist ambitions for authority. For believers and non-believers alike, this book is an invaluable glimpse into the complicated web of religious entertainment and cultural production.
Journal of the American Academy of Religion
Argumentation and Advocacy
This essay analyzes the argumentative structure of the "Answers in Genesis" ministry's Creation Museum in Petersburg, Kentucky. Founded by a $27 million grant, the 70,000 square-foot museum appropriates the stylistic and authoritative signifiers of natural history museums, complete with technically projicient hyperreal displays and modern curatorial techniques. In this essay, we argue that the museum provides a culturally authoritative space in which Young Earth Creationists can visually craft the appearance that there is an ongoing scientific controversy over matters long settled in the scientific community (evolution), or what scholars call a disingenuous or manufactured controversy. We analyze the displays and layout as argumentative texts to explain how the museum negotiates its own purported status as a museum with its ideological mission to promulgate biblical literalism. The Creation Museum provides an exemplary case study in how the rhetoric of controversy is used to undermine existing scientific knowledge and legitimize pseudosdentific beliefs. This essay contributes to argumentation studies by explaining how religious fundamentalists simulate the structure of a contentious argument by adopting the material signifiers of expert authority to ground their claims.
Since the mid-twentieth century there has been increasing concern among evangelical Christians over the depiction of human origins in American education. For young-Earth creationists, it has been a priority to replace scientific information which contradicts the six-day origin story reported in Genesis 1 with evidence they claim scientifically reinforces their narrative. As this has failed in public education, creationists have switched tactics, moving from “teach creationism” to “teach the controversy”. The struggle over evolution education in the classroom is well-documented, but less attention has been paid to how young-Earth creationists push their agenda in informal educational venues such as museums. Given the authoritative nature of museums and the ubiquity of these institutions in American life, museums have become targets for the creation message. This project was undertaken to critically analyze the use of the museum form as an authoritative source which facilitates the cultural reproduction of young-Earth creationism. I propose a tripartite model of authority and museums is the best way to understand the relationship between young-Earth creationism and American museums, with the creation, contestation, and subversion of authority all acting as critical components of the bid for cultural reproduction. Assessing the utility of this model requires visiting both creation museums alongside mainstream natural history, science, and anthropology museums. Drawing from staff interviews, survey data, museum visits, and the collection of creation-based literature for secular museums, these sources combine to create a comprehensive picture of the relationship between young-Earth creationism and museums in the United States today.
The Senses and Society, 2020
This article examines the sensory dimension of religious publicity, focused on the case of an evangelical museum in the United States. Washington D.C.’s Museum of the Bible (MOTB) was envisioned and funded primarily by conservative Protestants, and is a revealing case of religion in public life because most of the creative labor of design was conceived and executed by secular firms who do not typically work for faith-based clients. The professional expertise of these firms, “experiential design,” informs a sea change in contemporary museology and the expansion of the experience economy in late modernity. Ultimately, I argue that MOTB’s engagement with experiential design indexes the power of entertainment in late modern life, as the sensory repertoire at play operates with largely unquestioned legitimacy and presumed efficacy. By mobilizing the cultural capital of design, an evangelical museum makes a claim for diverse audiences in a deeply public setting.
Journal for the Study of Religion, Nature and Culture, 2019
Create a 'Google Alert' for the word Anthropocene and wait for your email inbox to be ooded. You quickly get a sense of how widely the term has been adopted in the broader culture and the (often uncritical) variety of ways it is being invoked and interpreted. The Anthropocene is the focus of a steady stream of scienti c papers, humanities scholarship, blogs, small-town newspaper articles, and letters to the editor, and it features prominently in a range of artistic productions, museum exhibitions, and feature lms. The Anthropocene is invoked in tones both of dire warning and hushed veneration, and virtually everything in between. Perhaps the term's center of gravity has to do with the increasingly worrying phenomenon of catastrophic climate change. In 2016, in response to such concerns and to the gap between what governments can and should do, a group of scholars assembled at the National University of Singapore to explore interrelations between religion and 1.
Sociology of Religion
The Many Cinemas of Michael Curtiz, eds. R Barton Palmer and Murray Pomerance, 2018
This essay investigates the 1928 Warner Bros. epic Noah's Arc, Michael Curtiz's first high-profile directorial assignment in the United States. Based mainly on archival research and primary resources, the essay examines the film's production history, draws parallels to the Austrian epic Sodom and Gomorrha, which Curtiz directed in 1922, and provides a close analysis of the spectacular twenty-minute deluge sequence that the film is best known for.
Th e paper is devoted to the link between the ecology of religion and popular culture. Recently these fi elds have become topical for both contemporary cultural discourse and religious studies while environmentalism itself has oft en been considered as a form of implicit religion. J. Cameron's fi lm " Avatar " being an exemplarily work of popular culture raising environmental issues is in the main focus of the paper. Th e 'Na'vi' culture and religion invented for the purposes of the fi lm are interpreted in tight connection to Pandora's nature. Th e methodological approach underling the importance of investigating archaic religions in their coexistence with nature was developed by Å. Hultkrantz whose theory became the basis of the ecology of religion, however here it is applied to the study of a product of popular culture. In " Avatar " one can see a range of religious beliefs starting with a Hindu term used for the title and fi nishing with " animism " and " pantheism ". Th ese religious ideas gave rise to sharp criticism from some Catholics and Protestants who blamed the fi lm for promoting worship of nature turning it into divinity and ecology into religion. On the other hand, Christianity itself has been criticized for its neglect of nature resulting from its fi ght with paganism. So, in some sense " Avatar " " promoting " an absolutely diff erent attitude to nature returns us to the pre-Christian epoch. Th e religious beliefs of the Na'vi can be taken as an example of " dark green religion " and the main hero resembles contemporary radical environmentalists. " Avatar " defi nitely romanticizes the so called " noble savage " but it is hard to deny that in the fi eld of religion, ecology and popular culture Cameron's work is a milestone. Pandora invented by Cameron has opened its box to make us think more carefully of religion and ecology as the means of popular culture which are very easy to understand. Refs 24.
JRAI, 2019
Materializing creationism in the United States Bielo, James. Ark Encounter: the making of a creationist theme park. x, 223 pp., illus., bibliogr. New York: Univ. Press, 2018. £20.99 (paper) Trollinger, Susan L. & William Vance Trollinger Jr. Righting America at the Creation Museum. 327 pp., maps, illus., bibliogr. Baltimore, Md: Johns Hopkins Univ. Press, 2017. £17.50 (cloth)
Christian Tourist Attractions, Mythmaking, and Identity Formation, 2019
While Christianity has a substantive biblical and theological basis for responding passionately and effectively to the crisis in the creation, two great divides in America have prevented it from adequately addressing this crisis. These are (1) the divide between science and evangelicalism, created and deepened by nearly 50 years of "creation vs. evolution debates," and (2) the divide of "people vs. the environment," allowed for and widened by "the creation" being replaced by "the environment"-a poor replacement that in many ways came as consequence of the first divide. These two divides have largely immobilised American evangelicals from raising concerns for the creation and for developing a commitment to creation care. These divides also have diminished understanding of the creation and its environmental and social degradations in America, even as they have benefited enterprises and "special interests" that depend upon destructive and degrading use of the creation in pursuing their purposes. These divides also have blurred and obscured people's vision and ability to see creation and its beauty in ways that diminish awe and wonder, deny its degradation, and immobilise its potential stewards from responsible stewardship.
Journal of Religious & Theological Information, 2017
Studies in Christian-Jewish Relations, 2019
Opening in 2007, the Creation Museum of Petersburg, KY presents visitors with a Young Earth Creationist argument against evolution and physical cosmology. Instead, the facility asserts that science proves the biblical description of God’s creation of the cosmos and all life upon it a little less than 6,000 years ago. While official documentation suggests the museum’s intentionally missionary function, closer examination reveals its important role as a memory place that legitimates a Young Earth Creationist identity, as well as identities tied to affiliated “culture wars” issues. The past that the Creation Museum asks visitors to remember, however, contains notable silences with regard to the place of Jews and Jewishness within sacred history, despite structural allusions to the theological framework of Dispensationalism. While institutionally forgetting Jews, the facility emphatically stresses the memory of dinosaurs as part of the biblical, human past. Analysis shows that decisions related to the museum’s theologically diverse audience and a desire to present Young Earth Creationism as “scientific” has led to a surprising discursive connection between the memory of Jews and dinosaurs at the site. In other words, by framing dinosaurs as witnesses to the truth of Christian scripture, the Creation Museum is compelled to depict Jews and Jewishness as quixotic fossils with no particular function in an otherwise purposefully designed universe.
Magic, Ritual and Witchcraft, 2022
This essay reflects on two cases of evangelical publicity; that is, on situations where an evangelical cultural form operates in spaces that are open to diverse audiences and not wholly or strictly definable as religious. The first was a traveling science-themed ministry active between the 1930s and 1990s. The second is a biblically-themed museum that opened in Washington, D.C. in 2017. I take up these two cases in this forum because together they offer a valuable reflection on the entanglement of magic, technology, spectacle, and religious publicity. Both examples are defined by their use of sensory play through technology in order to arrest the attention of audiences. They surprise, confound, disorient, and otherwise upend sensory expectation in service of broader evangelical ambitions.
Southern Communication Journal, 2017
2020
This article compares forms of visual argumentation in the scientific study of evolution and Young-Earth Creationism, arguing that secular forms of scientific representation have affected the way creationists visually construct their own. In order to affirm their view of the origin of the universe, creationists borrow from, mimic, and ultimately emulate the techniques, or at least the appearance, of scientific method and reasoning. The use of the word “emulation” is very deliberate since their aim is to match and surpass a rival scientific paradigm – evolution. The sermon preached by the design of the Creation Museum in Petersburg, Kentucky, is not content simply to look like science, but aims to do science that is affirmed by the Scriptures
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