Of Magic Lanterns and Missional Communities
You’ve heard of magic lanterns, and missional communities have been a hot topic for quite awhile. But what does one have to do with the other?
Not much, unless someone makes a deliberate connection.
Or unless Joe and Melissa Johnson of Watching Theology, found on Steve Brown, Etc., reminds us quite unintentionally that they might have quite a bit in common; and in reminding us, offer a graphic lesson in how to do church for the church that really wants to be Jesus’ church—which is, by the way, a missional community.
However, such lessons were not the intent, as far as I can tell, of Watching Theology in their review of Winter Light, a film by the noted Swedish film director Ingmar Bergman (1918-2007), who made a career of convinving us God was gone—away on business, as Tom Waits sings. The review was just the first thoughtful piece in an ongoing "Silence of God" series that film, theology, and philosophy buffs should check out. Even so, if you make a ripple in the pond you have to accept disturbing a leaf floating by as a consequence. And if that leaf floats a little sideways anyway…
Well, they made the ripple; this leaf has been disturbed and hopes to disturb you, the reader of this post, in turn. Indeed, I hope to disturb you with the connection between magic lanterns and missional communities.
Ingmar Bergman’s film career began with the former because it may have been missing the latter. And I am willing to bet Bergman is not the first nor the last whose career trajectory, indeed whose life path has been shaped—for good or bad—by what was not there at the beginning.
A vacuum attracts debris indiscriminately. Our mission as the church of Jesus is to be there in the place of the vacuum to deflect the debris, when possible, while always filling space-time with what really makes things go…
I am talking about God’s love. Let me explain.
Bergman had a "paraffin-lamp projector that was his favorite childhood toy;" this is what a magic lantern is, by the way, and would be so magical to Bergman as to become his respite from near everything else. Bergman clung to it desperately even as he was sucked into the vacuum that was the rest of his life: "however acutely his art reflected his sense of life," a reviewer notes, "it was much more important to him as a refuge from life. It was the place where he could at least briefly impose order on life's terrible confusions, find for himself a sustaining moment of peace and grace."
And this even though he once lived, theoretically, in the midst of peace and grace. He started life and found his film career, his life’s work, as a boy in church. But he would find peace and grace, such as they would be for him, mostly in the magic lantern.
You will find the earliest prototype of paraffin lamp projectors with someone standing by a fire casting shadows on a wall. This, we suppose, led to someone placing a burning candle in a reflecting device that concentrated the candlelight, thus sharpening the image cast. Out of this came the original lanterna magica, the "magic lantern."
Popular in the 19th Century, the Magic Lantern cast images from slides illuminated by a paraffin (kerosene) based flame. Mineral oil, according to one source, could cast a brighter, purer light, and improved the experience. The experience was improved further still when creative folk found that by manipulating combinations of slides they could produce animation. The magic grew.
In time, of course, electricity replaced the flame and the lantern morphed into the modern movie projector. The flickering flame disappeared into a fog of nostalgia, storage bins, and dusty museums. But the magic had been enhanced many times over.
The magic resided in the manipulated image that when projected made something seem like what it was not right before your eyes, and therein lays the fascination. At 24 frames per second, the frame rate for 35mm movie film, the magic, and our fascination with it, have been enhanced exponentially. 172 million people attended the movies in the U.S. in 2007, purchasing nearly 1.5 billion tickets: real movie goers go more than once.
So if the paraffin flame was yesterday’s technology; the magic is very much today’s, and no doubt tomorrow’s, too. But has the magic lived, in fact, so splendidly without the fire?
Well, no; at least not completely.
The most common light source for the modern movie theater projector is the Xenon arc lamp producing sufficient heat to burn the film should it pause for more than a fraction of a second. For this reason, the modern projector mechanism includes a ’douser,‘ an asbestos plate used to shield the film from the heat.
Thus, with the advance of the magic the fire has in fact intensified even if the flame has morphed from a flicker to an intense dance of electrons in ionized gas.
It seems that you just cannot have the magic of today and tomorrow without something of yesterday tagging along. This encapsulates a critical aspect of Bergman’s life and career.
Born in Uppsala Sweden to a Lutheran minister father who served as chaplain to the court of Sweden, and to a “a proud, strong-willed” mother, Bergman describes in his autobiography, The Magic Lantern, strict discipline and "mutually destructive" relations between parents. The shadowy innards of the parish church were his playground, its paintings, alcoves, and arches his imaginary world. He turned the wardrobe closet where he was sent for discipline into a production studio and theater with a magic lantern he secured in a trade for tin soldiers. Creating a cast from puppets to which he then gave life, he plunged into the magic of a world he thought he could control, nay, in fact, create in his own image. Enraptured with this world, he never really left it: he merely in time traded the flame of the magic lantern and a cast of puppets, first for the limelight of theater, then for the arc light of 35mm, but in both cases for real live actors.
One way of assessing Bergman, if we believe his work and what he writes about himself, is that he tried to abandon the fire of his past as symbolized in that flame casting a flickering light of magic in the recesses of a wardrobe closet; that it was hidden deep somewhere in the manse of a cold, dour, lifeless church where he witnessed liturgy without the warmth of love tells why he wanted to flee: the magic was his escape from the harsh brutality of life too cruel, yet the flame casting the magic was immersed deeply in, and held by, all he hated. Torn, he abandons the flame of the past buried in the recesses of a cold church. Desperately, he clings to the magic by ripping it violently away from the church where the magic had been hidden away in a closet like all else he felt the church repressed, human sexuality especially. Fleeing that, he stumbles into the uncertain freedoms of a church-less today thinking he would gain tomorrow, too; but did he?
Bergman offers little evidence that he found magic he sought in either today or tomorrow. In fact, in the end he drops a hint he may have been looking to the past and wishing for the flickering flame again. In a so-called ‘final film,’ Saraband, shot as a digital video rather than on film, Bergman resurrects an old plot (Scenes from a Marriage, 1973) and casts Liv Ullman, a shadow from his past, in a leading role. A reviewer comments that in this video, "Hate seems as much a mystery to Bergman as love…As so often in the past, Bergman brings us to the edge of existential despondency, then mocks it with a human—all-too-human smile." In this 2003 work, Bergman then in his 80s still has not settled the issue. Shall we or shall we not despair? Indeed, the past comes tagging along in this film just because Bergman will not let go of the magic of hope—or love, or God—?
"No form of art," Bergman wrote, "goes beyond ordinary consciousness as film does, straight to your emotions, deep into the twilight room of the soul… At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe…" (from, The Magical Lantern, 1987, Bergman’s autobiography).
Thus, no matter the valiant attempt, Bergman remained linked to his church-soaked past. In fact, Bergman had merely swapped the pulpit of the church filled by his father, for the stage and the big screen where he preached his own, not godless, but God-gone-missing sort of religion, as if the gospel of human autonomy was being forced upon him; but he never quite settled into agnosticism in a friendly way. He was always returning to "the magic of my childhood: in the darkness of the wardrobe…" He seemed to be, says one reviewer, "one almost overcome by his daily struggles with anxiety, self-doubt, and existential angst."
More than a little ego is involved in "existential angst;" such ontological dread reflects an ego made fragile because one has not made peace with the past because one can feel the need to run from even a supposed silent God. Thus, in the present there is a deep need to persuade, oneself perhaps more than others, that creative genius tightly controlled is certainly god-like.
So intensely involved was Bergman with a need to persuade himself of this that when he thought he wasn’t persuasive enough he fled like a little boy back into the closet, any closet. Reading from his biography, an observer describes Bergman’s arrest in 1975 on tax evasion charges (which were soon dropped): "Suddenly policemen appear in his theater to arrest him on charges of tax evasion. His bowels weaken and he must make a lengthy, humiliating trip to the water closet, with a cop posted outside the door, before going to confront his accusers."
A nervous breakdown followed and Bergman abandoned his homeland for Munich, Germany. He remained in self-imposed exile for several years.
One wishes that the past that seemed always to tag along would have caught up with Bergman in ways other than nostalgia or retreats into the wardrobe in the guise of a nervous breakdown; that some vestigial remnant linked with some eternal reality apart from dour churches and difficult parents would have overwhelmed him.
In any case, it is not for us to second-guess God; and that Bergman’s life could have been different is not the point; in fact his filmmaking can serve as God-given grist for dour, church-bound people looking for a better way to share the gospel than erecting monuments to God. Certainly, Bergman tells us clearly what doubt looks and sounds like in a soul sensitive to issues that matter to all of us.
But sadly, the point at which this doubt can be heard most clearly so as to be sensitively answered by others escaped Bergman completely. The weakness of the magic lantern was that it never answered back; its magic being in what you made of it. The warmth of the lantern’s flame froze like ice when its light reflected back from the screen the very coldness in Bergman’s own soul. It could only be that for a lifetime he conversed with himself, affirming, reaffirming, and fearing his own angst; his very success being a curse, his drive for god-like control of stage and film production that which isolated him from God. The strict disciplines of cold religion were no answer, yet in fleeing the church Bergman deliberately took all that cold with him as the foil against which he could forever deny on stage and in film that God was speaking.
Not so strangely, then, he could only hint at the warmth of love in a twisted way by juxtaposing what he so longed for with the existential reality of his near overwhelming anxiety and doubt. This made Bergman’s work tough to swallow; but it shows that the missional community is made to order for Bergman’s heirs, anyway. Unlike the cold dour loveless church of his father, and unlike the fleeting magic of love’s warmth only hinted at on a screen, the missional community revels in God’s love allowing it to overflow in the power of the Holy Spirit without saying a word—yet of course, it has much to say. But unlike Bergman’s theatrical take on films that depended heavily on verbose dialogue to express his anxious doubts, the church in mission has been sent by Jesus as God sent him (John 20:21) and does what Jesus did expressing faith, hope, and love in action. As Jesus was in his flesh to the Father—if you have seen me you have seen him—the missional community is to Jesus, and can say to the world, "If you have seen us, you have seen him." Words attend action, of course, but serve to explain what is seen by what is not seen. Thus, Bergman’s silence of God can be filled with thunderous, yet succinctly apropos proclamation.
This is no illusion projected on a screen. In the missional community the magic in the lantern meets its match as the warmth of the flame flows beyond the screen into life becoming a living story that can be touched, interacted with, and entered into. One can only wonder what might have happened if…?
(See here for more on the church as a missional community)