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Why am I doing this series FRANCIS SCHAEFFER ANALYZES ART AND CULTURE? John Fischer probably expressed it best when he noted:
Schaeffer was the closest thing to a “man of sorrows” I have seen. He could not allow himself to be happy when most of the world was desperately lost and he knew why. He was the first Christian I found who could embrace faith and the despair of a lost humanity all at the same time. Though he had been found, he still knew what it was to be lost.
Schaeffer was the first Christian leader who taught me to weep over the world instead of judging it. Schaeffer modeled a caring and thoughtful engagement in the history of philosophy and its influence through movies, novels, plays, music, and art. Here was Schaeffer, teaching at Wheaton College about the existential dilemma expressed in Michelangelo Antonioni’s 1966 film, Blowup, when movies were still forbidden to students. He didn’t bat an eye. He ignored our legalism and went on teaching because he had been personally gripped by the desperation of such cultural statements.
Schaeffer taught his followers not to sneer at or dismiss the dissonance in modern art. He showed how these artists were merely expressing the outcome of the presuppositions of the modern era that did away with God and put all conclusions on a strictly human, rational level. Instead of shaking our heads at a depressing, dark, abstract work of art, the true Christian reaction should be to weep for the lost person who created it. Schaeffer was a rare Christian leader who advocated understanding and empathizing with non-Christians instead of taking issue with them.
Midnight in the Paris-best scene of the movie Salvador Dali, Man Ray and Woody Allen
Woody Allen talking with Salvador Dali and Man Ray and Luis Bunuel.
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Francis Schaeffer pictured below:
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How Should We then Live Episode 7 small (Age of Nonreason)
#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer
Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR
In the book HOW SHOULD WE THEN LIVE? Schaeffer notes:
Especially in the sixties the major philosophic statements which received a wide hearing were made through films. These philosophic movies reached many more people than philosophic writings or even painting and literature. Among these films were THE LAST YEAR AT MARIENBAD by Alain Resnais (1961), THE SILENCE by Ingmar Bergman (1967), JULIET OF THE SPIRITS by Federico Fellini (1965), BLOW UP by Michelangelo Antonioni (1966), BELLE DE JOUR by Luis Bunuel (1967), and THE HOUR OF THE WOLF by Ingmar Bergman (1967).
They showed pictorially (and with great force) what it is like if man is a machine and also what it is like if man tries to live in the area of non-reason. In the area of non-reason man is left without categories. He has no way to distinguish between right and wrong, or even between what is objectively true as opposed to illusion or fantasy….One could view these films a hundred times and there still would be no way to be sure what was portrayed as objectively true and what was part of a character’s imagination. if people begin only from themselves and really live in a universe in which there is no personal God to speak, they have no final way to be sure of the difference between reality and fantasy or illusion (pp. 201-203).
Belle de Jour Presentation
(You will notice in the last part of the 14 minute clip above, it shows how the movie “Belle de Jour” ends. Even though her husband has been shot three times which was the result of the horrible friends she had associated with, he is pictured in her dreams as recovering from his wheel chair and blindness and he gladly kisses her. Francis Schaeffer below in his film series shows how this film was appealing to “nonreason” to answer our problems.)
(I got this clip from youtube and below is the paragraph by the author of the youtube clip.)
In a film class my partner and I did a video presentation on the film Belle de Jour and the filmmaker Luis Bunuel. Bunuel was a surrealist, so if the video doesn’t quite makes sense, its not supposed to.
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Luis Bunuel is a surrealist film director that is responsible for the film “Belle de Jour” which Francis Schaeffer discusses below.
| Luis Buñuel was born in Span in 1900. In studied first with Jesuits before enrolling in the University of Madrid, majoring in science. At the University he met Salvador Dali and Federico Garcia Lorca. Inspired by Fritz Lang’s film, Destiny , Buñuel went to Paris to study film during the 1920’s amidst a flourish of avant-garde experimentation. There he became an assistant to the experimental filmmaker Jean Epstein, and in 1928 collaborated with some friends including Salvador Dali on Un Chien andalou , which became a surrealist classic. It provoked a scandal, but Buñuel went on to film L’Age d’Or in 1930, creating another scandal. L’Age d’Or would also be the last time Salvador Dali would collaborate with Buñuel as he fought with Buñuel over the film’s anti-Catholicism. After L’Age d’Or , Buñuel further pursued his interests in anti-clericalism when he turned his attentions to making a documentary called Land Without Bread . (1932), studying the contrast between the poverty, disease, and death of the Spanish people and the lush, jewel-filled world of the Spanish Catholic Church. Buñuel went on to work for the foreign branches of major Hollywood studios, dubbing for Paramount in Paris and supervising co-productions for Warner Brothers in Spain. He produced several more Spanish pictures before leaving Spain for the United States during the Spanish Civil War.While in the United States, he was director of documentaries at the Museum of Modern Art in New York. He also found himself working for major Hollywood studios again as well as the U. S. government, supervising Spanish-language versions of films for MGM, making documentaries for the U. S. Army, and dubbing for Warner Brothers. Buñuel began to direct films again after a creative hiatus of almost 15 years when he went to Mexico.In association with producer Oscar Dancigers, Buñuel made a series of films, including Los olvidados (1950), El (1952), and Criminal Life of Archibaldo de la Cruz (1955). The best of these films brought Buñuel once more to international acclaim. It was with his Mexican films that Buñuel began to fully develop his unique mix of surrealist humor and social melancholy, combining a documentary sense with surrealist qualities into a loose, discontinuous form of narrative that his films would continue to follow as his career would progress. With his Mexican films, he paid especially close attention to the details of average Mexican life. Buñuel would continue to make films in Mexico, most notably Nazarin (1958), even after leaving the continent.Buñuel returned to France in 1955 to begin three co-productions that placed him in the center of cinematic art. His first opportunity to work and live in Spain came when he made Viridiana in 1961. Though his script was initially approved, the film was banned upon release due to its anticlerical images, notably Buñuel’s famous parodical shot of Leonardo Da Vinci’s painting, The Last Supper . Nevertheless the film achieved international recognition. Controversy and problems with either distribution or censorship continued to appear throughout his career, as in his French film, Belle de Jour (1967), which would later go out of distribution for many years until Martin Scorsese rereleased it in 1996. Despite the complications Buñuel continued to be one of the most creative and productive of all film directors. |
Catherine Deneuve, “Belle de Jour”, 1967
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Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.”
Many modern artists are left in this point of desperation that Schaeffer points out and it reminds me of the despair that Solomon speaks of in Ecclesiastes. Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.” THIS IS EXACT POINT SCHAEFFER SAYS SECULAR ARTISTS ARE PAINTING FROM TODAY BECAUSE THEY BELIEVED ARE A RESULT OF MINDLESS CHANCE.
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Francis Schaeffer pictured below
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The film series by Francis Schaeffer “How should we then live?” covers the film Belle de Jour. Below is an outline of the 8th episode on the Impressionists and the age of Fragmentation. The third part discusses surrealist films like Belle de Jour that mixes our reality with our day dreams.
AGE OF FRAGMENTATION
I. Art As a Vehicle Of Modern Thought
A. Impressionism (Monet, Renoir, Pissarro, Sisley, Degas) and Post-Impressionism (Cézanne, Van Gogh, Gauguin, Seurat): appearance and reality.
1. Problem of reality in Impressionism: no universal.
2. Post-Impression seeks the universal behind appearances.
3. Painting expresses an idea in its own terms as a work of art; to discuss the idea in a painting is not to intellectualize art.
4. Parallel search for universal in art and philosophy; Cézanne.
B. Fragmentation.
1. Extremes of ultra-naturalism or abstraction: Wassily Kandinsky.
2. Picasso leads choice for abstraction: relevance of this choice.
3. Failure of Picasso (like Sartre, and for similar reasons) to be fully consistent with his choice.
C. Retreat to absurdity.
1. Dada , and Marcel Duchamp: art as absurd. (Dada gave birth to Surrealism).
2. Art followed philosophy but came sooner to logical end.
3. Chance in his art technique as an art theory impossible to practice: Pollock.
II. Music As a Vehicle of Modern Thought
A. Non-resolution and fragmentation: German and French streams.
1. Influence of Beethoven’s last Quartets.
2. Direction and influence of Debussy.
3. Schoenberg’s non-resolution; contrast with Bach.
4. Stockhausen: electronic music and concern with the element of change.
B. Cage: a case study in confusion.
1. Deliberate chance and confusion in Cage’s music.
2. Cage’s inability to live the philosophy of his music.
C. Contrast of music-by-chance and the world around us.
1. Inconsistency of indulging in expression of chaos when we acknowledge order for practical matters like airplane design.
2. Art as anti-art when it is mere intellectual statement, divorced from reality of who people are and the fullness of what the universe is.
III. General Culture As the Vehicle of Modern Thought
A. Propagation of idea of fragmentation in literature.
1. Effect of Eliot’s Wasteland and Picasso’s Demoiselles d’ Avignon
compared; the drift of general culture.
2. Eliot’s change in his form of writing when he became a Christian.
3. Philosophic popularization by novel: Sartre, Camus, de Beauvoir.
B. Cinema as advanced medium of philosophy.
1. Cinema in the 1960s used to express Man’s destruction: e.g. Blow-up.
2. Cinema and the leap into fantasy:
The Hour of the Wolf, Belle de Jour, Juliet of the Spirits,
The Last Year at Marienbad.
3. Bergman’s inability to live out his philosophy (see Cage):
Silence and The Hour of the Wolf.
IV. Only on Christian Base Can Reality Be Faced Squarely
I looked up the definition of Surrealism and here it is:
(1920s-1930s) Surrealism was both a art and literary movement that stressed the significance of letting one’s imagination rule through the use of the sub-conscious without the hindrances of logic and normal standards. The anti-rationalist characteristic that stemmed from the Dadaist movement was a part of Surrealism. However, Surrealism involved more playful and spontaneous in spirit. Ways of thinking about how a viewer perceives the world around himself helped to shape the movement. The movement was begun in 1924 in the city Paris by Andre Breton, the author of the ‘Manifeste du surrealisme.’ His writings encouraged the expression of one’s imagination through the use of dreams. His writings attracted many artists of the Dadaist movement. The Surrealist movement was helped along in its development during the 1920s and 1930s with the famous artist Salvador Dali.
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In this video below Oliver says, “There is a vacuum in most people’s lives to express themselves to the fullest… Art can be very self-indulgent and I think why so many people want to do this (take part in his productions) and subject themselves to my torture is not just to play but also to present themselves in a format that is unusual from their ordinary lives to create a legacy of sorts.” He later said, “My relationship to the camera is a very different one than a lot of the people I work with who seem to be younger than me. A lot of these kids grew up in the 1990’s with AIDS in the back of their mind. They thought more of mortality…Just makes you feel much more vulnerable I think than you would otherwise if you were 18.”
Uploaded on Jul 17, 2009
Episode #065: On the roof of his Brooklyn studio, artist Oliver Herring photographs Davide Borella during an exhausting performance as Borella spits various colors of water, tinted by food dye, up into the air and onto his face.
Among Oliver Herrings earliest works were his woven sculptures and performance pieces in which he knitted Mylar, a transparent and reflective material, into human figures, clothing and furniture. Since 1998, Herring has created stop-motion videos, photo-collaged sculptures, and impromtu participatory performances with off-the-street strangers, embracing chance and chance-encounters in his work.
Learn more about Oliver Herring: http://www.art21.org/artists/oliver-h…
VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Joel Shapiro. Sound: Gary Silver. Editor: Jenny Chiurco and Mary Ann Toman. Artwork Courtesy: Oliver Herring. Special Thanks: Davide Borella.
Oliver Herring
About Oliver Herring
Oliver Herring was born in Heidelberg, Germany, in 1964, and lives and works in Brooklyn, New York. He received a BFA from the University of Oxford, Ruskin School of Drawing and Fine Art, Oxford, England, and an MFA from Hunter College, New York. Among Herring’s early works were his woven sculptures and performance pieces in which he knitted Mylar, a transparent and reflective material, into human figures, clothing, and furniture. These ethereal sculptures, which evoke introspection, mortality, and memory, are Herring’s homage to Ethyl Eichelberger, a drag performance artist who committed suicide in 1991. Since 1998, Herring has created stop-motion videos and participatory performances with “off the street” strangers. He makes sets for his videos and performances with minimal means and materials, recycling elements from one artwork to the next. Open-ended and impromptu, Herring’s videos have a dreamlike stream-of-consciousness quality; each progresses towards a finale that is unexpected or unpredictable. Embracing chance and chance encounters, his videos and performances liberate participants to explore aspects of their personalities through art in a way that would otherwise probably be impossible. In a series of large-scale photographs, Herring documents strangers’ faces after hours of spitting colorful food dye—recording a moment of exhaustion and intensity that doubles as a form of abstract painting. Herring’s use of photography takes an extreme turn in his most recent series of photo-sculptures: for these works, Herring painstakingly photographs a model from all possible angles, then cuts and pastes the photographs onto the sculptural form of his subject. Herring has received grants from Artpace, New York Foundation for the Arts, and the Joan Mitchell Foundation. He has had one-person exhibitions at the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and New Museum of Contemporary Art, New York; among others.
Uploaded on Feb 20, 2009
Episode #051: Artist Oliver Herring discusses what he perceives as generational shifts in our relationship to the camera, mortality, and legacy, accompanied by scenes from his five channel video installation “Little Dances of Misfortunes” (2001) — created after 9/11 — which depicts amateur dancers illuminated by phosphorescent body paint. “Little Dances of Misfortunes” is currently on view (through June 14, 2009) at the The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College as part of Oliver Herrings 15-year career survey “Me Us Them”.
Learn more about Oliver Herring: http://www.art21.org/artists/oliver-h…
VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Joel Shapiro. Sound: Roger Phenix. Editor: Jenny Chiurco. Artwork Courtesy: Oliver Herring.
Oliver Herring: Collaborating with Strangers
ART21: Talk about what it’s like, bringing strangers into your work.
HERRING: The hardest thing is to work on a level of trust, especially with strangers. There is a level of expectation that can be very hard to meet. The premise is to make a video, but that can mean a lot of different things. Perhaps it sounds much more glamorous to some people than it is—especially the videos that I make, which are stop-motion. I repeat a lot of movement—and whatever we end up doing—because I don’t know where it is going. I try to take my cues from the personalities of these people. So, if I have two people whom I know in the studio, I can circumvent that whole issue and go straight to having fun. Ultimately, that’s where you want to go—to that place where you enjoy it, where you’re not self-conscious, where personalities come through. At some point, you reach a point of saturation where you’re so tired and exhausted that the last little bit of guardedness falls away and something really pure comes out. That’s what gives these videos humanity. And that’s what I’m shooting for. All the action—all the motion—is really just a decoy to get to that.
In the end, these things are collaborations. I don’t think of the people I work with as models or actors. They are people who are willing to sacrifice their time for me. Of course, there is something in it for them, too: the experience is intimate and unusual. But it’s the same for me. Although I know more what to expect, since I usually work with strangers, there is still a whole new world that enters my studio with whoever comes in. It’s very adventurous.
ART21: Are there times when it’s difficult to work with other people?
HERRING: It’s like walking a tightrope. On one hand, I feel I have to be really selfish. If I sense some potential somewhere, I feel I have to go with it. I owe it to everybody’s time spent together. Ultimately what I want is a good video, a good piece of art. But at the same time, I’m trying very hard to keep everybody entertained, and that’s hard sometimes.
I had a shot where I had almost forty people in the studio, and it just didn’t work. So, I ended up working with six or seven people, which made it really hard. There was a lot of footage that I shot that never made it into the final piece that I just did because I felt I had the obligation to do something. It’s a balancing act, and since I’m not very scientific about anything, I just have to go with my feelings. If I see somebody really fidgety, I try to engage that person somehow.
ART21: How should people think of your videos in relationship to your other work?
HERRING: I look at my videos as a continuation of my work in general. My work has always been very stripped down. It’s always about generating something with a very simple and accessible material, or with what’s around me. And perhaps the more “operatic” video pieces were a reaction to my knit sculpture, which kept me isolated for so long in the studio that the videos were a way for me to be social and flamboyant and to change my mind all the time. Because when I did the knit pieces, once I committed myself to a piece, I was locked into an idea, and the only thing that could really move was my mind. The early video pieces were a way for me to express what was going on in my mind. One of my first videos, Exit, literally starts out with me sitting in the chair that I usually knit in, and then it turns into this flight of fancy—certain fantasies that I dreamt about while I was knitting.
ART21: What is your process for making a work?
HERRING: I tend to start out with a lot of artifact because I find comfort in that. Then I slowly move away from it. Once I reach a certain comfort level, I end up with nothing because it’s the hardest thing to gain something from. If you have nothing around you, and you can make something out of it, that’s hard but also very satisfying—because it’s ultimately very uplifting. But you have to work for that. So, I usually start with something and then strip it away to nothing, just trying to generate something out of the air. I try to rid myself of excess. It’s the same with everything that I do. I just like when things are really boiled down to an essence—because to me there is so much more truth in it.
ART21: Are there ever conflicts in these collaborations?
HERRING: I think sometimes people might be frustrated when they’re not used in the way they imagine themselves. When I allow people to do in front of the camera whatever they want to do, it becomes so complex, eccentric, and playful. I feel when I impose my ideas, it actually becomes much less so.
People seem to have a pretty clear idea of themselves, of how they want to be portrayed in front of a camera, which is a very interesting relationship between people and cameras. It might also be a generational thing. Younger people who grew up with TV, video cameras, and reality television have a very clear idea of how they want to be shown in front of a camera, whereas slightly older people might not. So, that’s where the frustration level might come in. If somebody is not portrayed in the light that they expect, then it might be frustrating.
On the other hand, the videos that I end up editing and showing tend to be good enough. I think everybody seems to be very happy, because they always come back—that’s the other thing. The video that they’re shooting here today is actually an example of two people who have been in quite a few of my videos now.
ART21: Describe some of the materials you use.
HERRING: At this point, nothing—nothing at all. I used to use ten, fifteen pieces of cardboard that I would recycle. It almost became a challenge to find new usages in those ten sheets of cardboard, to see how much I could get out of them. But at this point, I’m really just trying to rely on people’s personalities and also my (hopefully) sharpened instinct to deal with people. I think that’s the other thing that I’m trying to cultivate: how to deal with people successfully.
ART21: How do you see your role in creating the videos?
HERRING: I still think of myself very much as a sculptor or a painter. The idea of a director seems too hierarchical. I can’t relax into that at all. And maybe that’s also why these things become very collaborative. While I call the shots, I do it under disguise. I don’t really know what my role is, and perhaps that’s a good thing because it keeps me fluid and changing—behind the camera or in front. It leaves doors open. I don’t like roles, actually.
ART21: Talk about how you arrived at stop motion as a way to structure your videos.
HERRING: In formal terms, it was logical because my knit work was incremental and built from little moments that in a linear way added up to a larger picture. Film is very similar. Stop motion communicates that even more clearly because you have one moment that is still and then another moment. So, it’s almost like one still life that’s bunched together with another still life, and so on. In between, I can rearrange and manipulate. Since I work on a shoestring budget, I deliberately try to keep things as simple and manageable as possible. I’m not interested in technology and all that—I mean, I am, but not for my work. I try to make things with my hands and to impose that kind of feeling and tactility onto my videos. Stop motion gives me that luxury because I can build a still life of sorts and then change it. I made a little document by photographing it and by filming it, and then in the film, it sort of adds up to a larger picture.
Uploaded on Jan 14, 2008
Among Oliver Herring’s earliest works were his woven sculptures and performance pieces in which he knitted Mylar, a transparent and reflective material, into human figures, clothing and furniture. Since 1998, Herring has created stop-motion videos, photo-collaged sculptures, and impromtu participatory performances with ‘off-the-street’ strangers, embracing chance and chance-encounters in his work.
Oliver Herring is featured in the Season 3 episode “Play” of the Art21 series “Art in the Twenty-First Century”.
Learn more about Oliver Herring: http://www.art21.org/artists/oliver-h…
© 2005-2007 Art21, Inc. All Rights Reserved.
Uploaded on Aug 21, 2009
Episode #070: Artist Joyce Pensato discusses her experiences appearing as a performer in Oliver Herring’s videos. The work, which also features participant Davis-Thompson Moss, is the first in a series of Oliver Herring videos that feature the pair of performers.
Among Oliver Herrings earliest works were his woven sculptures and performance pieces in which he knitted Mylar, a transparent and reflective material, into human figures, clothing and furniture. Since 1998, Herring has created stop-motion videos, photo-collaged sculptures, and impromptu participatory performances with off-the-street strangers, embracing chance and chance-encounters in his work.
Learn more about Oliver Herring: http://www.art21.org/artists/oliver-h…
VIDEO | Producer: Wesley Miller and Nick Ravich. Interview: Eve Moros Ortega. Camera & Sound: Joel Shapiro and Roger Phenix. Editor: Jenny Chiurco. Artwork Courtesy: Oliver Herring. Special Thanks: Joyce Pensato.
Uploaded on Aug 28, 2009
Episode #071: Artist Davis Thompson-Moss discusses his experiences appearing as a performer, alongside his brother, in two videos by Oliver Herring: “BASIC” (2003) and “THE DAY I PERSUADED TWO BROTHERS TO TURN THEIR BACKYARD INTO A MUD POOL” (2004).
Among Oliver Herrings earliest works were his woven sculptures and performance pieces in which he knitted Mylar, a transparent and reflective material, into human figures, clothing and furniture. Since 1998, Herring has created stop-motion videos, photo-collaged sculptures, and impromptu participatory performances with off-the-street strangers, embracing chance and chance-encounters in his work.
Learn more about Oliver Herring: http://www.art21.org/artists/oliver-h…
VIDEO | Producer: Wesley Miller and Nick Ravich. Interview: Eve Moros Ortega. Camera & Sound: Joel Shapiro and Roger Phenix. Editor: Jenny Chiurco. Artwork Courtesy: Oliver Herring. Special Thanks: Davis Thompson-Moss.
Uploaded on Oct 31, 2011
UMSL: Artist Oliver Herring brought his “TASK” exhibit to Gallery 210 on the North Campus of the University of Missouri−St. Louis.
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 14 David Friedrich Strauss (Feature on artist Roni Horn )
How Should We Then Live The Age of Non Reason Scott87508 ____________________________________________________________________________________________________ Dr. Francis Schaeffer – Episode 8 – The Age of Fragmentation NoMirrorHDDHrorriMoN Francis Schaeffer pictured below: ___________ Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 13 Jacob Bronowski and Materialistic Humanism: The World-View of Our Era (Feature on artist Ellen Gallagher )
________ Today I am looking at Jacob Bronowski and his contribution to spreading the thought of Charles Darwin to a modern generation. The artist Ellen Gallagher is one of those in today’s modern generation that talks about how evolution is pictured in his art works. What are some of the observations that Francis Schaeffer […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 12 H.J.Blackham and Materialistic Humanism: The World-View of Our Era (Feature on artist Arturo Herrera)
Dr. Francis schaeffer – The flow of Materialism(from Part 4 of Whatever happened to human race?) Dr. Francis Schaeffer – The Biblical flow of Truth & History (intro) Francis Schaeffer – The Biblical Flow of History & Truth (1) Dr. Francis Schaeffer – The Biblical Flow of Truth […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 11 Thomas Aquinas and his Effect on Art and HOW SHOULD WE THEN LIVE? Episode 2: THE MIDDLES AGES (Feature on artist Tony Oursler )
___________________________________ Dr. Francis Schaeffer – Episode 2 – The Middle Ages NoMirrorHDDHrorriMoN Francis Schaeffer pictured below: _______________- _________ _______________________ Size of this preview: 560 × 599 pixels. Other resolutions: 224 × 240 pixels | 449 × 480 pixels | 561 × 600 pixels | 718 × 768 pixels | 957 × 1,024 pixels | 2,024 × 2,165 pixels. Original file (2,024 × 2,165 pixels, file size: 392 KB, MIME type: image/jpeg) […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 10 David Douglas Duncan (Feature on artist Georges Rouault )
___________________________________________________________________________________________________________________________ Francis Schaeffer: How Should We Then Live? (Full-Length Documentary) Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 “The Age of Fragmentation”, episode 7 “The Age of Non-Reason” , episode 6 “The Scientific […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” (Schaeffer Sundays)
E P I S O D E 1 0 Dr. Francis Schaeffer – Episode X – Final Choices 27 min FINAL CHOICES I. Authoritarianism the Only Humanistic Social Option One man or an elite giving authoritative arbitrary absolutes. A. Society is sole absolute in absence of other absolutes. B. But society has to be […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 9 “The Age of Personal Peace and Affluence” (Schaeffer Sundays)
E P I S O D E 9 Dr. Francis Schaeffer – Episode IX – The Age of Personal Peace and Affluence 27 min T h e Age of Personal Peace and Afflunce I. By the Early 1960s People Were Bombarded From Every Side by Modern Man’s Humanistic Thought II. Modern Form of Humanistic Thought Leads […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 8 “The Age of Fragmentation” (Schaeffer Sundays)
E P I S O D E 8 Dr. Francis Schaeffer – Episode VIII – The Age of Fragmentation 27 min I saw this film series in 1979 and it had a major impact on me. T h e Age of FRAGMENTATION I. Art As a Vehicle Of Modern Thought A. Impressionism (Monet, Renoir, Pissarro, Sisley, […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 7 “The Age of Non-Reason” (Schaeffer Sundays)
E P I S O D E 7 Dr. Francis Schaeffer – Episode VII – The Age of Non Reason I am thrilled to get this film series with you. I saw it first in 1979 and it had such a big impact on me. Today’s episode is where we see modern humanist man act […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 6 “The Scientific Age” (Schaeffer Sundays)
E P I S O D E 6 How Should We Then Live 6#1 Uploaded by NoMirrorHDDHrorriMoN on Oct 3, 2011 How Should We Then Live? Episode 6 of 12 ________ I am sharing with you a film series that I saw in 1979. In this film Francis Schaeffer asserted that was a shift in […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 5 “The Revolutionary Age” (Schaeffer Sundays)
E P I S O D E 5 How Should We Then Live? Episode 5: The Revolutionary Age I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Francis Schaeffer noted, “Reformation Did Not Bring Perfection. But gradually on basis of biblical teaching there […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 4 “The Reformation” (Schaeffer Sundays)
Dr. Francis Schaeffer – Episode IV – The Reformation 27 min I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer makes three key points concerning the Reformation: “1. Erasmian Christian humanism rejected by Farel. 2. Bible gives needed answers not only as to […]
“Schaeffer Sundays” Francis Schaeffer’s “How should we then live?” Video and outline of episode 3 “The Renaissance”
Francis Schaeffer’s “How should we then live?” Video and outline of episode 3 “The Renaissance” Francis Schaeffer: “How Should We Then Live?” (Episode 3) THE RENAISSANCE I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer really shows why we have so […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 2 “The Middle Ages” (Schaeffer Sundays)
Francis Schaeffer: “How Should We Then Live?” (Episode 2) THE MIDDLE AGES I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer points out that during this time period unfortunately we have the “Church’s deviation from early church’s teaching in regard […]
Francis Schaeffer’s “How should we then live?” Video and outline of episode 1 “The Roman Age” (Schaeffer Sundays)
Francis Schaeffer: “How Should We Then Live?” (Episode 1) THE ROMAN AGE Today I am starting a series that really had a big impact on my life back in the 1970′s when I first saw it. There are ten parts and today is the first. Francis Schaeffer takes a look at Rome and why […]
By Everette Hatcher III | Posted in Francis Schaeffer | Edit | Comments (0)
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