Spirituality is often approached either as a text with an emphasis on scripture and sacred texts, or as ritual with an emphasis on the legal norms. Indeed, many of the studies on religion have approached it from one of these angles. However, focusing solely on sacred texts and rituals can limit our understanding of the experiences and engagements of believers with religion. Today, with breakthroughs in science and advancements in the study of quantum physics, spirituality rises once again to shine upon humanity’s quest for knowing the meaning of reality, of its nature and that of the universe that it belongs to. Forms of spirituality and mysticism can vary in its manifestation from culture ...view middle of the document...
One of the most popular films made on a metaphysical promise is, a love story set within an extended metaphor using a time loop to mimic karma reincarnation, where the character is doomed to repeat the same day endlessly until he gets it ‘right’. During the film, the character gradually evolves from a cynical narcissist into a compassionate, creative, and warm-hearted social being; only then, when his energy has completely changed, does the woman he loves find him attractive.
The film shown the emotions and stages of life in comparison to the passing of the different seasons. The different seasons are the only thing the old monk and his young apprentice see as time passes by. Some smaller scenes even pass without dialogues as the old monk guides the boy to explore the world around him. The film is divided into five episodes with each season representing a special stage in a human’s life. Each one begins with opening a wooden gate, similar to a curtain in a theater, which leads the view on the lake with the small temple. The field to be observed is geography in all its facets (Andresen & Alexander, 2007).
As we see the seasons change around the small floating monastery. When a young murder, hotly pursued by the police, flees to the monastery the priest paints Buddhist sutras all over the wooded deck of the temple which the man craves and paints as meditative response to his inner tensions. Despite themselves, the police officers that have come to arrest him also choose to partake in the process before removing him to the mainland (Taylor-Jones, 2013).
Baraka (1992; directed by Ron Fricke). It consists of sequences of stunning cinematography that show a mix of the power and beauty of nature, the effects of industry, the destruction of war, and the practice of religion (people in prayer, chanting monks, pilgrims). The sense of a sacred order, which can in part be founded in nature and to which we seem to be trying to relate. The film’s emphasis on a kind of unifying sensibility run roughshod over the importance of difference in thinking about the many provocative images (Watkins, 2008).
Baraka functions on two levels: both as a catalogue of stunning images, like a beautifully realized cinematic travelogue without words; and on a deeper level, as a visual poem about Earth’s evolution, man’s diversity and...