The transformation of the city of Zion : from decadence to justice and prophetic hope (Is. 1:1–2:5)

This article focuses on the story of the transformation of the city called Zion. Isaiah 1:1–2:5 is the key to the book. This chapter describes the failure of Israel to be the people of God: Israel’s covenant breach, a corrupted cult and imminent punishment. It tells of the existence of two groups within Israel: the righteous remnant who would be saved and the wicked who would be judged. This chapter furthermore presents the reader with a picture of decadent Jerusalem whose sacrifices are rejected and whose prayers are no longer accepted. Isaiah 1 contains a warning of judgement against Jerusalem, whereas Isaiah 2:1–5 sketches the prophetic hope for Zion, which would lead to a pilgrimage of the nations to receive the Torah on Zion.This research is part of the project ‘Exegesis and the Theology of Isaiah’, directed by Prof. Dr Alphonso Groenewald, Department of Old Testament Studies, Faculty of Theology, University of Pretoria.This article is part of the Special Collection titled ‘Spatial Justice and Reconciliation’, sub-edited by Stephan de Beer, of the Department of Practical Theology and the Centre for Contextual Ministry, University of Pretoria.http://www.hts.org.zaam2017Old Testament Studie

From Sacred to Scientific: Epic Religion, Spectacular Science, and Charlton Heston’s Science Fiction Cinema

This paper analyses how long-1960s cinema responded to and framed public discourses surrounding religion and science. This approach allows for a discussion that extends beyond a critical study of the scholarly debates that surround the place of religion in science during a transitional period. Charlton Heston was an epic actor who went from literally playing God in The Ten Commandments (1956) to playing “god” as a messianic scientist in The Omega Man (1971). Best known for playing Moses, Heston became an unlikely science-based cinema star during the early 1970s. He was re-imagined as a scientist, but the religiosity of his established persona was inescapable. Heston and the science-based films he starred in capitalized upon the utopian promises of real science, and also the fears of the vocal activist counterculture. Planet of the Apes (1968), Omega Man (1971), Soylent Green (1973), and other science-based films made between 1968-1977 were bleak countercultural warnings about excessive consumerism, uncontrolled science, nuclear armament, irreversible environmental damage, and eventual human extinction. In this paper I argue that Heston’s transition from biblical epic star to science-fiction anti-hero represents the way in which the role and interpretation of science changed in post-classical cinema. Despite the shift from religious epic to science-based spectacle, religion remained a faithful component of Hollywood output indicating the ongoing connection between science and religion in US culture. I will consider the transition from sacred to science-based narratives and how religion was utilised across the production process of films that commented upon scientific advances