The Theology of the Icon and the Medium of Cinema

THE ICON IN MOTION

The Theology of the Icon and the Medium of Cinema

Introduction

Cheng sat transfixed by the image of the crucifixion. On the walls of the dimly lit room hung numerous icons, but Cheng could not tear her eyes from the image illumined before her. The face of the suffering Christ was especially gripping such that Cheng’s own eyes filled with tears. For almost two years, Cheng had been exploring Christianity but had always stopped short of conversion; she resisted identifying herself with Christ because of her memories of her cruel grandfather, a man who had called himself a Christian but had abused her terribly for years. Now as she contemplated the image in the flickering light, she felt she was looking at a scene that encompassed all her suffering and yet also at a face that radiated forgiveness. She later would report, “In a moment, I knew I could forgive my grandfather and I did right then and there.” And that night, for the first time, she declared her identification with Christ publicly.

In their