In class today I talked about or showed video clips from:
Now, if the world imagined by the God’s not Dead film series is accurate, I guess this is the part where my godless, secular institution fires me for saying the name “Jesus” in the classroom.
I used these varied snippets of evangelical cultural production to illustrate several salient themes of late 20th century evangelical popular culture. I argued that it is:
Populist and frequently apocalyptic
We talked a good bit about an evangelical persecution complex (see Alan Noble’s Atlantic article), which seems tied to the apocalyptic trend. Through films like A Thief in the Night and books like Left Behind, evangelicals could imagine a not-too-distant future where Christians would be hunted down and killed.
My working hypothesis is that the apocalyptic theology of the fundamentalist movement only became prominent in cultural production after the upheavals of the 1960s. Notice that this was also the era when revived narratives of “Christian America” took off, with the publication of Peter Marshall and David Manuel’s The Light and the Glory. Apocalyptic popular culture appealed to people who felt that the country had suddenly gone to hell right before their eyes.
The populist dimension of this is obvious on the surface. Evangelical popular culture is anti-elitist and anti-intellectual. But it’s deeper than that. It has to do with what is considered authoritative. Evangelical theory says the Bible is authoritative. In practice, as Todd Brenneman has argued, emotion and feeling have pride of place in evangelical culture. Much evangelical cultural production is extraordinarily sentimental.
A driver of group identity/cohesion
Every community needs to define itself and tell its members who they are and where they belong. Evangelical popular culture does that, especially for kids.
An expression of enduring insider/outsider tension
This goes all the way back to the tensions George Marsden identified in early 20th-century fundamentalism. Are we insiders or outsiders? Alienated from the nation, or its truest defenders? In late 20th century popular culture, it means evangelicals want to influence the culture, but also assert their difference from it. So when someone like Amy Grant wins great mainstream success, does that mean she is faithfully “witnessing” to the culture, or does it mean she sold out and betrayed her Christian commitments?
This one is probably pretty obvious. Evangelical popular culture is political if for no other reason than it provokes an us vs them mentality, the Christian vs the secular, the conservative vs the liberal, the insider vs the outsider.
The lecture was not as well-put together as it should have been, but I think it was still a fun one. A better crafted synthesis would bring these various features of evangelical popular culture together into a more coherent whole. But I wasn’t sure how to do that.