This is the second post of a series on teaching religion in film using the work of Stanley Hauerwas. For helpful background, please see the first post from last week!
This week students came to class having read Chapter One in Hauerwas’s A Community of Character. In this chapter he outlines his “10 Theses Toward the Reform of Christian Social Ethics” in which he argues for the centrality of narrative to Christian social ethics and the formation of a community (the church) that can exist in a way that is faithful to the story of Jesus. “The primary social task of the church,” he maintains, “is to be itself–that is, a people who have been formed by a story that provides them with the skills for negotiating the danger of this existence, trusting in God’s promise of redemption” (10).
Hauerwas is not an easy read, and I was impressed by the number of students who seemed able to navigate this material with little to no difficulty (I should note, by the way, that of the twenty six students currently enrolled in the class, only a small handful are religion majors; most are taking this course as an elective or to fulfill a religion requirement in the core liberal arts curriculum). One student made the astute observation that what Hauerwas seems to be doing in this chapter is advocating for a sort of “secret clubhouse” mentality among Christians. While I noted that he would likely not want to frame the matter in those terms, I think he would at least agree with the sentiment: the church is a distinctive community that certainly exists within the world, but that exists as an alternative to much of what the world has to offer. And this distinctiveness is one of the things that makes the church the church.
Below is a word cloud that I generated from the first crop of essays (FYI – I will remove the word “Hauerwas” from future clouds):
One of the things that students either loved or hated about this chapter was Hauerwas’s use of Watership Down to illustrate what he means by the role of narrative in the formation of communities. I think many were thrown off by the fact that the characters in Watership Down are rabbits – they thought this silly and not particularly fitting for a sophisticated theological treatise. Others just didn’t think that the stories did much to illustrate his point. Some loved the analogy, however. I only discovered about two days before the class started that Watership Down was made into a film. I’ve not had a chance to get a copy of it yet, but I will be interested in taking a look at it as a possible starting point for future classes.
After our discussion at the start of class, we watched Big Fish (2003), a wonderful film that illustrates the profound power that stories can have in the construction of one’s worldview. I gave the students a few questions to think about as they watched: When we talk about the importance of narrative/stories in the formation of our worldview, to what extent is it essential for these stories to be “true” stories What do we even mean when we talk about a story being “true”? Does this mean that it has to have happened in exactly the way that it’s told? And finally, I asked them to pay special attention to the role that mythology plays in this particular film.
Our discussion after the credits rolled was short (class only lasts so long) but fruitful. Students seemed to really enjoy the film, and one commented that it helped her to understand what Hauerwas had been arguing in the chapter they read for that week. I was pleased that she said this (without my prompting!) because that is, in fact, the goal of the class: read a difficult theological text and use film as a medium to better understand that text. Two weeks in and we are on the right track!
I’m a bit late posting this, and I plan on having my reflections on Week 3 up in the next few days.