Jonathon Grooms Knihy

In the Old Testament, Jezebel was married to Ahab, king of Israel. Ahab ceded his power to his wife, acquiescing to her control and becoming passive. In the same way today, people demonstrating the control and domination of the Jezebel spirit compel people into the passivity of an Ahab spirit, whether in a marital situation, a church, or any other relationship.It doesn't have to be this way. Using sound biblical teaching and real-life illustrations--some from his own life--bestselling author Steve Sampson shows readers how to discern and defeat the spirit of Ahab, Jezebel's ancient ally. It is possible to be assertive in a godly way, and Sampson's teaching will motivate believers trapped in passivity to claim their freedom and become a positive force for change.

In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen , often translated as “lifelike” but best understood as “approaching reality.” What these Chinese theorists mean, in Fan’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened. Fan suggests that the phrase “approaching reality” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn.

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