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Maeir A. M. 2017. Kingdoms of Israel and
Maeir A. M. 2017. Kingdoms of Israel and
Portrayals of the kingdom of God and God’s prayerful use of “Blessed are You, O Lord, Our God,
kingship use a variety of devices to portray and King of the Universe,” introducing the table grace
project the kingdom into different contexts. A film in Unstrung Heroes (dir. Diane Keaton, 1995, US) and
that blends ancient and contemporary is DeMille’s within the lighting of the Shabbat candles at the
silent film, The King of Kings (1927, US). As the title outset of Schindler’s List (dir. Steven Spielberg, 1993,
of the film foreshadows, the story, otherwise set in US), to Joyeux Noël (dir. Christian Carion, 2005, FR/
ancient Israel, culminates with the image of gigan- DE/UK/BE/RO/NO) wherein a subversive Christmas
tic Jesus, resurrected king, arms outstretched reign- Eve peace on “no man’s land” is initiated with the
ing over images of 1927 American agricultural and singing of “Stille Nacht/Silent Night” and crowned
industrial capitalist enterprise and the text, “Lo, I with “Adeste Fideles/O Come, All Ye Faithful,”
am with you always” (Matt 28 : 20). DeMille’s pro- which hails Jesus’ birth as the birth of a king.
jection of Jesus the king and his kingdom is a con- Bibliography: ■ Griere, S., “Mark Dornford May: Transpos-
fluence of Jesus’ kingship and the American doc- ing the Classic,” in The Bible in Motion: A Handbook of the Bible
trine of Manifest Destiny. As DeMille’s film ends and Its Reception in Film, pt. 2 (ed. R. Burnette-Bletsch; HBR
with a vision of Jesus reigning over “today,” recon- 2; Berlin 2016) 721–28.
textualization of Jesus’ story in effect projects the Samuel Giere
kingdom of God and Jesus’ kingship into new See also /Afterlife; /Heaven; /Heaven, Gates
space. In David Greene’s Godspell: A Musical Based on of; /Key, Keys; /Paradise
the Gospel according to St. Matthew (1973, US), Jesus’
story is set in New York City. God’s kingship is
clear from the beginning of the film, when against
Kingdoms of Israel and Judah
shots of the city the Divine Narrator says: “My
name is known – God and king, the most in maj- I. History and Archaeology
II. Judaism
esty in whom no beginning can be and no end…”
III. Film
As the disciples are drawn from their lives by a Pied
Piper-like John the Baptist, the life of the city is
suspended while Jesus and his disciples enact the I. History and Archaeology
kingdom of God as a troupe of clowns throughout 1. The Early Monarchy. There is very little con-
the otherwise empty city. The impact of the king- crete archaeological evidence for the early stages of
dom of God, however, is unclear as the film ends the Israelite/Judahite monarchy(ies). While it has
with the disciples carrying Jesus’ body and melting been suggested to identify the formation of a polity
back into the city’s bustling life. In Mark Dornford- in the region north of Jerusalem in the late Iron I/
May’s Son of Man/Jezile (2006, ZA), a recontextualiza- early IIA (ca. 11th/10th cent. BCE), mirroring the
tion of the Jesus story in contemporary South Af- biblical tradition of the kingdom of Saul, this is
rica, this world is claimed by Jesus in tension with somewhat hard to prove. Even more so, the very of
both God and Satan. In the immediate wake of the the existence of archaeological evidence (and evi-
slaughter of the innocents, God’s archangel Gabriel dence or lack thereof) of the “United Monarchy”
invites the boy Jesus to come with him. The child, has been, extensively discussed.
refusing to go, replies, “This is my world!” Like- While most scholarship in the mid-to-late 20th
wise, when the adult Jesus is being tempted by Sa- century CE believed that concrete evidence of the
tan in the desert, Jesus (Andile Kosi) pushes Satan “United Monarchy” could be identified (such as the
down a sand dune as he declares, “This is my so-called “Solomonic gates” at Hazor, Gezer and
world!” In this recontextualization, Jesus pushes Megiddo), at present, this is a highly contested
against both God and Satan for rule over the topic and many question whether there is any sub-
present. Also, in relation to DeMille’s casting of Je- stantial archaeological evidence of the United Mon-
sus’ reign over 1927 America, in Son of Man the im- archy. Positions on this differ considerably, from
age of Jesus’ reign is a brightly colored mural on those who believe that the United Monarchy was a
the side of a building in a contemporary township. large and prosperous kingdom, mirroring to a large
In this mural Jesus hangs on the cross, which in Son extent the image portrayed in the biblical text,
of Man is an unmasking of the evil powers of the those who suggest that there was a kingdom of Da-
present. Other films which recontextualize the vid and Solomon but of a minor scale, and those
kingdom of God and God’s kingship in Christ are: who question the very existence of this early king-
Jesus Christ Superstar (dir. Norman Jewison, 1973, dom and see it instead as a literary creation of either
US), Babette’s Feast (dir. Gabriel Axel, 1987, DK), Jé- the later Judahite kingdom or of post-Iron Age
sus de Montréal (dir. Denys Arcand, 1989, CA/FR), times. By and large, these positions are related to
and Still Crazy (dir. Brian Gibson, 1998, UK). the various approaches on the understanding of the
The image of God’s kingdom/kingship also rise of the early Israelite/Judahite kingdoms,
plays a prominent role in both Jewish and Christian whether in fact that of the biblical narrative of an
piety, as depicted in a number of films. From the initial “United Monarchy” followed by a northern