REL 202: Religion & Popular Culture – Assessment 3
Assignment: Cultural Artifact Analysis
Course: REL 202 – Religion & Popular Culture (or THEO 204)
Due Date: Sunday of Week 6 by 11:59 PM (Local Time)
Length Requirement: 1,200–1,500 words (approx. 5–6 pages)
Format: APA 7th Edition or MLA 9th Edition
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Popular culture is not merely entertainment; it is the primary arena where contemporary society wrestles with the “Big Questions” of existence. In this module, we have discussed the concept of “Implicit Religion”—the idea that secular media often functions religiously by providing myths, rituals, and ethical frameworks.
This assignment requires you to perform “Cultural Exegesis.” You are not writing a movie review. You are not telling me if you liked the content. You are functioning as a cultural theologian, uncovering the latent religious messages embedded in a specific piece of modern media.
Instructions
Select one specific “Cultural Artifact” released between 2020 and 2026. This can be a:
- Feature Film (e.g., Dune: Part Two, Oppenheimer).
- Television Series Season (e.g., The Last of Us, Severance).
- Music Album (e.g., by Kendrick Lamar, Hozier).
- Video Game Narrative (e.g., Elden Ring, God of War: Ragnarök).
Analyze this artifact using one of the following theological lenses:
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1. The Christ-Figure / Messianic Archetype
Does the protagonist function as a savior? Analyze their trajectory through the stages of Incarnation, Suffering/Sacrifice, and Resurrection. How does this secular messiah compare to the biblical Christ?
2. Theodicy and the Problem of Evil
How does the narrative explain suffering? Is evil portrayed as an external force (dualism) or an internal corruption (Augustinian privation)? What “hope” does the artifact offer for the resolution of pain?
3. Eschatology and Apocalypse
If the artifact deals with the end of the world (post-apocalyptic genre), what is its vision of the future? Is it a nihilistic void or a new creation? What acts are considered “saving” in this future landscape?
Structure of the Essay
- Introduction (150 words): Introduce the artifact and your thesis statement. (e.g., “While Dune appears to be a hero’s journey, it actually serves as a critique of messianic expectation…”)
- Description (250 words): Brief summary of the plot/content. Keep this short; assume an intelligent reader.
- Theological Analysis (600–700 words): The core of your paper. Apply your chosen lens. Quote dialogue or describe scenes in detail, then connect them to specific theological concepts or biblical passages.
- Cultural Critique (200 words): What does this artifact tell us about what our culture loves or fears right now?
- Conclusion (100 words): Final synthesis.
Grading Rubric
| Criteria | Distinguished (A) | Proficient (C) | Underdeveloped (F) |
|---|---|---|---|
| Theological Connection (40%) | Deep engagement with theological concepts. Moves beyond surface parallels to discuss implications (e.g., analyzing the nature of sacrifice, not just that a character died). | Identifies religious themes but analysis is generic (e.g., “This character is like Jesus because he is nice”). | Fails to identify religious themes; paper is entirely secular or descriptive. |
| Cultural Insight (30%) | Convincingly links the media to broader societal anxieties or values. demonstrates “Cultural Literacy.” | Makes some connections to culture, but they are obvious or cliché. | Treats the artifact in a vacuum without considering its cultural context. |
| Critical Engagement (20%) | Critiques the worldview of the artifact. Does not simply accept the movie’s message but evaluates it against a theistic/ethical framework. | Summarizes the plot rather than analyzing the message. | Reads like a fan blog or a consumer review (e.g., “The special effects were good”). |
| Format & Polish (10%) | Professional academic tone. Correct citation of film/media sources. | Informal tone (uses “I feel” or slang). Citation errors. | Major formatting issues; fails to meet length requirements. |
In analyzing the post-apocalyptic narrative of HBO’s The Last of Us, one encounters a profound rejection of utilitarian ethics in favor of a fierce, almost idolatrous, particular love. Joel Miller functions not as a traditional Christ-figure who sacrifices himself for the many, but as an inverted messiah who sacrifices the world to save the one. This narrative choice forces the viewer to confront the “Problem of Exclusive Love” discussed by theologian C.S. Lewis—the danger that a legitimate human affection, when elevated to an ultimate concern, becomes demonic (Lewis 1960/2017). Culturally, this resonates with a modern society that has lost faith in institutions (the Fireflies) and retreated into the fortress of the nuclear family. The “salvation” offered in the series is immanent and biological, starkly contrasting with the transcendent hope of traditional eschatology.
Recommended Resources
- Callaway, Kutter, and Dean Batali. Watching TV Religiously: Television and Theology in Dialogue. Grand Rapids: Baker Academic, 2016 (Standard text, highly relevant).
- Cobb, Kelton. The Blackwell Guide to Theology and Popular Culture. 2nd Edition. Oxford: Wiley-Blackwell, 2020.
- Detweiler, Craig. Deep Focus: Film and Theology in Dialogue. Grand Rapids: Baker Academic, 2019.
- Johnston, Robert K. Reel Spirituality: Theology and Film in Dialogue. 3rd Edition. Grand Rapids: Baker Academic, 2024. Publisher Link
- Watkins, Tony. Focus: The Art and Soul of Cinema. Damaris Publishing, 2021.
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