Column
Culture
Film & TV
Weirdness
Zombies
7 min read

Why do films portray Christians as crazy?

Exploring why films often portray the god-fearing as ‘always so god-damn weird’, psychologist Roger Bretherton recalls a first divine experience.
A crazed-looking man walks away from a burning backdrop.
Scott Shepard plays the crazed preacher in The Last of Us.
HBO.

We knew we were in trouble when he started quoting the Bible. If there is one rule we should all follow in a zombie apocalypse it is not to trust the isolated community of believers huddled around a Bible-quoting preacher. You know the plotline. The one that never occurs in Star Trek: the crew of the USS Enterprise land on a paradise-like planet only to discover that everything is exactly as it seems. No. The rules of genre television must be upheld. If it seems too good to be true, it probably is. 

This was the strong suspicion my eldest child and I immediately leapt to while watching season one, episode eight of HBO’s The Last of Us. If you haven’t seen it, it’s a zombie apocalypse drama, a bit like The Walking Dead, but with more giraffes and fewer zombies. Is it a virus? Is it radiation? No, it is a fungus that has zombified the masses. Starting with a few isolated infections here and there it rapidly mushroomed (I guess) to turn the placid citizens of the world into manic flesh-eaters. All I’m saying is keep applying the anti-fungal toenail cream, it may be the only thing standing between us and the collapse of civilisation as we know it.  

So, when episode eight opened with a previously unknown character quoting the Bible to a fearful flock hiding in a diner, we knew things weren’t going to turn out well. The signs were all there. He was almost definitely a paedophile, possibly a murderer, and very likely a cannibal. As it turned out we’d hit a perfect straight: three for three. He was all of them. I probably should have issued a spoiler warning for that one, but to be honest if you didn’t see it coming The Last of Us probably isn’t for you. You’d probably be happier watching something more sedate. Silent Witness anyone?  

Needless to say, the episode provoked no small amount of theological commentary in our household, mainly querying why it is that anyone exhibiting even a modicum of Christian belief in shows like this, almost always turns out to be completely unhinged. Why do the righteous always have something wrong with them? Why are the god-fearing always so god-damn weird?  

Pray and take the pills 

Just to be clear, I’m not a murderer, nor a paedophile, nor a cannibal (and I have no plans), but somehow the prejudice that Christians must be crazy has come to influence how I view my own spiritual history. I have inadvertently imbibed the simple naturalistic logic that if I am a Christian then there is something wrong with me. Some part of me shakes hands with Freud and retrospectively attributes my conversion to neurosis, a coping strategy, a crutch. The assumption that the only reason I would believe something so unusual, so out of step with the people I spend most of my time with, is that I am weird. Quietly, without realising it that is how I have come to view it - I need God because I am weak. 

Of course, religion can and often is used as a coping strategy. Leading psychologists of religion, like Kenneth Pargament, have made entire careers out of studying this phenomenon. For several decades, he and his collaborators have demonstrated pretty conclusively that people use religion and spirituality as potent sources of coping with the pain of life. From this perspective, religious conversion can be viewed as a transformation of significance. When the things we previously relied on to give us a sense of meaning and stability fail us, when our adjustment to life falls apart and cannot be put back together, we give up trying to conserve what was previously meaningful and instead take a transformative leap toward a new view of what matters to us. When the going gets tough, the tough get going. When the going gets too tough, some people turn to Jesus.  

But there are many ways we can use religion to cope, and over the years Pargament and his collaborators have identified a few of them. Some people defer everything to God, they cope by thinking God will do everything for them, they plead for Him to intervene. Others are self-reliant, they may believe in God, but they don’t expect much from Him; for them prayer is more like therapeutic meditation than anything medically effective. Others cope in a collaborative way. They don’t leave it all to God, nor do they think everything centres on them. They take responsibility for their lives, but view God as a companion, a collaborator, a conversation partner through all the vicissitudes of life.  

It probably comes as no surprise that in studies of religious people dealing with chronic illness, these styles of coping significantly predict prognosis over time. There are many ways it can help us, and some of them are more admirable and effective than others. Those who leave it all to God usually do worse, those who think it’s all down to them do better, and those who pray and take the pills do best. Coping with a painful and bewildering world is undoubtedly one of the benefits of religious belief. It’s one of the things it does for us, but it is not what religion is at core. It may be a function of belief but not its essence.  

That first intimation of divine presence... It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. 

As a twelve-year old boy, lurking at the back of an old Methodist church, waiting in silence for the possibility of something sacred to be unconcealed, I was not the kind of child anyone at school would ever admire: lonely, bullied, ignored. Relegated to the corner of the playground reserved for the outcasts and untouchables, the overly sensitive gay kid, the boorish tractor enthusiast, and the Dungeons and Dragons players. When I revisit the moment of my first truly transcendent and mystical experience of God, it’s tempting to write it off as an imaginative invention designed to anaesthetise the pain of social exclusion. I needed it to be true, so I made it up.  

Yet there is more to it than that. That first intimation of divine presence was the beginning of a lifelong quest to experience more. It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. And in the years that followed I pursued it. To begin with, that strange sense of presence was elusive. I couldn’t generate it under my own steam but ran across it every few months, in a small group, a church service, a prayer meeting, a piece of music. Over time the frequency increased, as I learned patterns of prayer and spiritual practice. Eventually, decades later, it stabilised into an almost daily occurrence. I discovered the western mystical tradition, a historical lineage that made sense of what I was sensing, and to which I could belong. I made myself at home with Augustine of Hippo, Julian of Norwich, Ignatius of Loyola, Teresa of Avila, John of the Cross, Thomas Merton. My new extended family was large and varied. They became my friends and spiritual guides. I had a history. 

When I think of the creatives I know, the artists, writers, actors, and musicians I have spent time with, I notice that for many of them their art is a response to the tragedy of life. But I rarely judge their work on the loneliness and pain that drives their compulsion to create. All too often it is the aching that lingers just under the surface of their work that makes it poignant and affecting. It is not just the beauty of what they create that moves me to tears, it’s the heartbreak out of which it is composed.  

My spiritual journey seems somewhat similar, a creative enterprise launched and sustained by a new insight into the nature of the world. Faith is more like a new way of seeing, than a new set of propositions to believe. If I’d been happy and fitted seamlessly into the fabric of social life, I doubt I’d have been open to the experience or able to recognise it when it occurred. But just as we might hesitate to reduce an artist’s work to little more than psychological self-help, I find myself increasingly reluctant to view my spiritual history as just an expression of my own neurosis. There is another way to tell the story, one that emphasises not so much the problems that drove me to God, but the presence that drew me to Him. There is more to the story than my own neediness and, in the final analysis, when the zombie apocalypse comes, at least I have retained sufficient sanity to avoid the guy with the Bible. 

Article
Art
Culture
5 min read

Why is religious art still popular?

What looters, curators and today's public find in a genre that survives the centuries.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A painting depicts a man a prophet pointing skywards while another person sleeps on the ground
Detail from Parmigianino’s The Vision of St Jerome.
The National Gallery.

The museums of Europe and North America are filled with religious art. Why? Certainly, gallery goers of the nineteenth century, when many public museums were founded, were more likely to practice a faith than visitors in today’s global cities, but this does not explain religious art’s continuing appeal. If we are so much more secular than the folks in stiff collars and leg ‘o mutton sleeves who curated and donated to early museum collections, why is the religious art they championed still so popular?  

Individual religious paintings’ chequered history, together with the formal elements of their composition, provide two lenses into the genre’s ability to resonate across multiple generations. 

Celebrations around the National Gallery’s 200th anniversary, with its reappraisal of the earliest works to enter the collection, offers an ideal time to study the blueprints for public collections, which continue to shape the art we see today. The French Revolution is popularly credited as the genesis of public art institutions, as the art and fine furniture from displaced aristocrat’s palaces was put on display at the Louvre, opened in 1793. But the idea of a semi-public art collections had been present in Italy from the early eighteenth century, as families opened their palazzos and collections of classical art to visitors on the Grand Tour. Rome’s Capitoline Museum opened in 1734, as the papacy saw an opportunity to showcase the heritage of ancient Rome to the city’s wealthy tourists, and position themselves in the role of art patrons. 

At the National Gallery, Parmigianino’s The Vision of St Jerome, 1526-1527, (reunited for the first time with rare preparatory drawings until 9 March) pulls on many of the threads that makes religious art, even in a secular age, enduringly powerful. 

Painted when Parmigianino was only 24, and already being hailed as ‘Raphael reborn’, the painting is reputed to have stopped looting soldiers in their tracks, when they saw it in the artist’s studio during the 1527 Sack of Rome. The painting itself had an adventurous life, spending far longer in secular surroundings than it ever did in the religious settings it was intended for.  

Commissioned as an altarpiece for a funerary chapel in Rome, the upheaval of the city’s occupation by the troops of Charles V saw The Vision of St Jerome stored, but not publicly displayed, in the refectory of a nearby church. Somehow during the terror and mayhem, the 3.5 metres high altarpiece, weighing nearly 100 kilograms, was transported from the artist’s studio across the city to safety. 

Thirty years later a great nephew of the original woman patron, Maria Bufalini, took the altarpiece from Rome to the family’s Umbrian hometown of Citta di Castello. Had it instead gone to its intended Roman church San Salvatore in Lauro, it would have been destroyed by the church fire of 1591. The Vision of St Jerome stayed in the family chapel of Sant’Agostino, inspiring artists from the region, until around 1772 when Cardinal Giovanni Bufalini moved the altarpiece to the restored Palazzo Bufalini, placing a copy in Sant’Agostino. If the original stayed in the church it would have been ruined by an earthquake in 1789. 

Having spent just over 200 years in a sacred setting, the painting was sold by the Bufalini heirs to an English art agent in Rome, setting sail from Livorno in December 1791 for its new life in England. 

After inheriting Parmigianino’s Virgin and Child with Saint John the Baptist and Mary Magdalene (1535-40), George Watson Taylor, with his heiress wife Anna, added The Vision of Saint Jerome to the significant private art collection, displayed at their London Townhouse in Cavendish Square. In 1819 the painting was exhibited publicly in England for the first time when Watson Taylor lent it the British Institution, the forerunner of the National Gallery. 

Four years later the painting fetched £3,202 at the sale of Watson Taylor’s collection, securing a higher price than Rubens’ Rainbow Landscape. It was purchased by the Reverend William Holwell Carr on behalf of the British Institution. The Vision of Saint Jerome hung in the National Gallery within two years of the institution’s foundation. 

Once part of the nation’s collection, the mannerist style of Parmigianino, with its elongated limbs, twisted torsos, classical drapery and foreshortened perspective, provided a context to discuss the Biblical figures depicted in the work. A loosely draped, seated Virgin Mary holds a tussle haired child between her knees, who kicks one leg out, as if to step away. Beneath them John the Baptist points a massive arm towards the heavens, while a smaller scale St Jerome sleeps clutching a crucifix. Regency and Victorian Christians such as Howell Carr, and popular art historians Anna Jameson and Elizabeth Eastlake, wife of the Gallery’s first director Charles, saw the potential of art created 400 years ago to speak to the spiritual questions of their day. Shorn of a traditional religious setting, the message, and missional potential, of the work came across as powerfully as ever. 

After surviving war, fire and earthquakes, The Vision of Saint Jerome was relocated to Manod Quarry in Wales from 1941 until the end of World War Two to escape the bombing of London. During this period, the National Gallery brought one painting out of storage to view in the empty Trafalgar Square landmark, the war weary public’s Picture of the Month. The tradition continues today.  

For sleep -deprived, food -rationed, scared wartime Londoners Noli me Tangere offered a message of love, loss, transcendence and protection. 

The first Picture of the Month, in 1942, was Titian’s Noli me Tangere, c. 1514. In a rather Italianate Garden of Gethsemane, with glowing sun and tumbling hills, Mary reaches out her hand to Christ. Having tended Christ’s crucified body in the tomb, Mary is grieving, and at first believes the figure before her is a gardener. To her astonishment he reveals himself to be the Christ, resurrected from the dead. Titian portrays the bittersweet moment after Christ’s miraculous return, when Mary comprehends that although Christ is present, she can no longer have any human contact with him, represented by her rebuffed gesture of touch. In common with all Christ’s followers, it is time to relinquish his earthly presence. While the kneeling Mary is bound to the earth, the standing Christ figure forms an arc over her, representing his protection of humanity. 

For sleep -deprived, food -rationed, scared wartime Londoners Noli me Tangere offered a message of love, loss, transcendence and protection. 

Religious art’s continued survival, through eras of supposed indifference, amplifies its specialness and continuing popularity. 

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