Equipped with ever-improving technology and visual effects, filmmakers have often used new tools to turn back time. As Svetlana Boym notes in The Future of Nostalgia, filmmakers used developments in computer-generated imagery to recreate the past: the titular sinker in Titanic, the dinosaurs in Jurassic Park and the Colosseum in Gladiator. Faced by a perceived acceleration of time in the age of modernity, progress “didn’t cure nostalgia but exacerbated it,” Boym says. As I have previously explored, David Fincher has also employed cutting-edge digital technology to revive the San Francisco of the past and literally reverse the life cycle of one Benjamin Button.
In 2012, a different trend emerged. If a desire to turn back time is implicitly rooted in a fear of impending death, then last year’s visual effects–driven cinema offered an alternative: transcending time and death. All released within months of each other, the big-budget features Cloud Atlas, Life of Pi, and Prometheus explored issues of faith and religion and asked questions about our existence. Continue reading “Digital Faith: Visual Effects and Religion in ‘Cloud Atlas,’ ‘Life of Pi,’ and ‘Prometheus’” »