Gods Not Dead: Purpose and Impact of Evangelical Cinema in Modern Times

GODS NOT DEAD

The films in the GODS NOT DEAD series are not primarily created to convert people to Christianity; rather, they serve to reassure and convince those who already believe. This content primarily targets audiences who are deeply entrenched in Christian beliefs and are seeking additional support to strengthen their faith rather than those who are exploring converting to Christianity.

Unconvincing Plots and Characters

The purpose of these films is not to create believable and compelling narratives. Instead, they are designed to reinforce the existing beliefs and inspire a sense of persecution and martyrdom that many Christians, especially in the U.S., feel is validated. A poorly reasoned argument structure and an unrealistic portrayal of persecution in the U.S. are likely to be immediately dismissed by those who have not already decided to believe in Christian ideas.

Unfocused Evangelism

Often, films like GODS NOT DEAD and other Christian-themed movies with significant budgets aim to advertise in secular markets because it feels good to the filmmakers and the audience. These movies primarily seek to “proselytize to the converted”, meaning they are designed for those who are already receptive to Christian ideologies. The emotional and often simplistic dialogues and storylines are peppered with vague and often one-dimensional characters.

Intolerance and Persecution Narratives

For example, in GODS NOT DEAD, the tenured professor compellingly avows atheism every semester, while his colleagues are more interested in laughter than opposing this viewpoint. Similarly, a young ex-Muslim woman is given inane advice about her faith by a stranger. Such stories and dialogues skew towards smugness and insensitivity, further alienating those not predisposed to these views.

Sources of Funding and Dominions

The funding for these films has deep roots in a faction of non-critically-minded religious dominionists. This sect has emerged through the 1970s by shaping the Republican party to appeal to disaffected white/Christian supremacists, initially as a means to sustain the party's relevance. Corporate interests have become intertwined with this strategy, leading to an addiction-like loyalty to those who validate these privileged sentiments.

The majority of the audience for such films may not consist of these dominionists, but neither are they an insignificant minority. This dynamic fosters a kind of audience that is more about supporting their political cause than a more committed religious or ideological adherence. The lack of earnest reasoning and focus on common talking points aligns well with this approach, allowing for a simplified world view where only token pious words are necessary to meet the needs of others.

Economic and Ideological Implications

The profit from these films, combined with the distribution of materials by organizations like Focus on the Family, which distribute both theological and ministerial materials, reflects a system where financial gain is linked to sustaining a belief system that is otherwise challenged in the modern world. This economic model supports a political ideology that benefits from maintaining the status quo and validating specific social and cultural norms through films and other media.

In essence, GODS NOT DEAD and similar films are not designed to convert non-believers but to provide a vicarious experience of reinforcing faith among the already receptive audience. Their creators benefit economically from this system, reinforcing a worldview that is otherwise vulnerable in the broader, more diverse society.