Have you seen the trailer for the new film “God is Not Dead”, featuring Duck Dynasty cast member (along side his “smokin’ hot wife”), and other interesting actors (such as Kevin Sorbo)?
First thing many of my non-religious friends have said is, “Is that for real? Please, Jesus, no!” (Which is, coincidentally, vastly similar to mine) But it’s real. Unfortunately. The trailer began to circulate a few months back. I face palmed repeatedly, and yes, I am a pastor. Many of my Christian friends view it as equally troublesome, for they despise the potential movement toward Christian stereotypes being projected onto members of the academy; they’d rather have a more superior mind representing the Christian perspective.
Yet for myself, with a foot in academia, having read (directly and about) Nietzsche (who is one of my favorite philosophers, by the way, despite my not agreeing with much of his philosophy), I cannot imagine the writers of this film know what the phrase ‘God is Dead’ truly means. And I also fear this film will merely do the reverse, project stereotypes of the academia onto Christian persecution culture. Many Christian circles already shun young women and men attending a theological seminary (any graduate level work), not least a non-Christian university (typically the word ‘Bible’ has to proceed the word ‘college’ in order to validate the academic exposure permeated there.
Yet in accord to the film’s plot, I doubt the characteristic atheist teacher would even have the audacity to sign the document himself, were he versed in Nietzsche’s initial proclamation of it. After all, I imagine that even Nietzsche proclaimed God’s death with a quiver, fully realizing the full weight of a new sort of epoch, a world secularized, beginning to rumble in birth pangs. This announcement is the proclaimed death of metaphysic discourse in its entirety, via loss of any meaning intrinsically in anything, opening up a fragile world of endless transparencies and void, in its darkest forms, of course. In its most positive, a world of which the absolute has crumbled into countless pieces, begging to be defined and embraced.
Regardless, the hyped movie in question seems to be an anti-intellectual film masquerading as brilliance, endorsing a competitive worldview of objectivity and absolutist ontology, that happens to devoid relationships, (any perhaps) relativity, and (phenomenological) contextuality; replacing such with mentally suppressive, melodramatic hubris.
With all that being said, I look forward to getting some popcorn and watching the flick. Why not?