Documentary as Exorcism is an interdisciplinary study that builds upon the insights of postcolonial studies, critical race theory, theological and religious studies and media and film studies to showcase the role of documentary film as a system of signifying capable of registering complex theological ideas while pursuing the authentic aims of documentary filmmaking. Robert Beckford marries the concepts of 'theology as visual practice' and 'theology as political engagement' to develop a new mode of documentary filmmaking that embeds emancipation from oppression in its aesthetic. In various documentaries made for Channel 4 and the BBC, Beckford narrates the complicit relationship of Christianity with European expansion, slavery, and colonialism as a historic manifestation of evil. In light of the cannibalistic practices of colonialism that devoured black life, and the church's role in the subjugation and theological legitimation of black bodies, Beckford characterises this form of historic Christian faith as 'colonial Christianity' and its malevolent or 'occult' practices as a form of 'bewitchment' that must be 'exorcised'. He identifies and exorcises the evil practices of colonialism and their present impact upon African Caribbean Christian communities in Britain in films such as Britain's Slave Trade and Empire Pays Back through a deliberate process of encoding/decoding. The emancipatory impact of this form of documentary filmmaking is demonstrated by its ability to bring issues such as reparations to the public square for debate, and its capacity to change a corporation's trade policies for the good of Africans.
This radical and cutting-edge Christian message presents Jesus's words in a fresh, direct and political way Links theology with the huge influence of popular black music, locating a multicultural new audience for Christian issues From Britian's leading black theologian, a media face who has presented several TV programmes and his own BBC West Midlands radio show Black theology is a vibrant and topical field. This book makes it accessible and relevant for everyone
In this authoritative and passionately argued book, Robert Beckford explores the future of Black British Pentecostalism in a society where the notion of White supremacy--even in faith--is all too evident. Drawing on Black, womanist, and post-colonial theologies of liberation, he urges the Black Church to regain its traditional prophetic role as part of its ministry. He suggests that the Caribbean's first liberation theology, Rastafari, has much to offer all Christians concerned with speaking prophetically into social and political life in Britain. Reflecting on aspects of Rastafari, Black Pentecostalism and the meaning of Jesus in the world today, he develops a new model for a Black political faith--a Dread Pentecostal theology.
This book contours Robert Beckford's recontextualization of African American Black and Womanist theologies of liberation. Making the black British experience a point of departure, Beckford's theological method appropriates two distinct approaches to pursue a contextual theology or a Black theology dub: first, a correlation of linguistic concepts from Black cultural history and urban life (Rahtid, Dread, and Dub) with the theological categories of "God," "Jesus," and the "Spirit"; second, a media theopraxis or inscribing of Black theology onto commercial television documentary filmmaking and studio-produced contemporary gospel music. In the My Theology series, the world's leading Christian thinkers explain some of the principal tenets of their theological beliefs in concise, pocket-sized books.
Is contemporary Black British gospel music a coloniality? What theological message is really conveyed in these songs? In this book, Robert Beckford shows how the Black British contemporary gospel music tradition is in crisis because its songs continue to be informed by colonial Christian ideas about God. Beckford explores the failure of both African and African Caribbean heritage Churches to Decolonise their faith, especially the doctrine of God, biblical interpretation and Black ontology. This predicament has left song leaders, musicians and songwriters with a reservoir of ideas that aim to disavow engagement with the social-historical world, black Biblical interpretation and the necessity of loving blackness. This book is decolonisation through praxis. Reflecting on the conceptual social justice album 'The Jamaican Bible Remix' (2017) as a communicative resource, Beckford shows how to develop production tools to inscribe decolonial theological thought onto Black British music(s). The outcome of this process is the creation of a decolonial contemporary gospel music genre. The impact of the album is demonstrated through case studies in national and international contexts.
Violent crime including gang warfare and the use of firearms affects many urban communities, with a growing number of alarming incidents reported in the media. Churches often struggle to find appropriate ways to respond to these crises and the pastoral needs that arise from them.Robert Beckford, lecturer in Black Theology at the University of Birmingham, attempts to provide some much-needed theological tools for an understanding of the rise of disaffection among black urban youth. Offering a clear analysis of the cultural and political factors at work, he argues for an approach based on reflection and action to seek life-transforming responses. Accessibly written, God and the Gangs is essential reading for those seeking to resource themselves for urban work or ministry. Includes a foreword by the Archbishop John Sentamu.
Vilified publicly as a pedophile, William Beckford sought refuge in his Fonthill estate where he amassed works of art fit for a king. He resided initially in a magnificent house called Fonthill Splendens, but then ordered it demolished to fund a work of art on a grand scale called Fonthill Abbey. Four public sales in 1801 and 1807 provided accessibility to Splendens and thousands came to examine the opulent offerings. Then the new structure with its extravagant Gothic interior, extraordinary possessions and scenic landscaping effects began to draw obsessive attention. This interest reached a pitch in 1822 when the entire estate was offered for sale, developing into a 'Fonthill fever' with over 7,000 people gravitating to Beckford's 'Holy Sepulchre'. The book examines Beckford's building, landscaping and collecting habits that led to this remarkable public interest. It identifies, too, the anonymous author of a series of articles in the Morning Chronicle that provide the sights and sounds when the auctioneer raised his hammer to disperse the riches of Fonthill. The building collapsed in 1825, but contemporary drawings and engraved 'views' have continued to keep it alive as an indelible icon of the Romantic period.
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