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Matthew Rindge, Ph.D.

Matthew Rindge, Ph.D.

Matthew S. Rindge is associate professor of Religious Studies at Gonzaga University. His latest book is “Profane Parables: Film and the American Dream.” He has published dozens of articles and chapters on the Bible, religion, and popular culture, and he has received multiple awards for teaching and scholarship. He chairs the Bible and Film section in the Society of Biblical Literature.

Donald Trump’s Victory and America’s Gospel of Success

We have by now heard a litany of reasons why so many voters chose Donald Trump for president. Without discounting any of these helpful explanations, I would like to suggest another factor that accounts for Trump’s appeal to so many U.S. voters. Trump succeeded, in part, because he tapped into the most dominant thread of American religion. The most powerful religion in America is America itself.

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Black is the New Black: White Privilege and White Fragility

In 1900, W. E. B. Du Bois declared that “the problem of the 20th century” would be “the problem of the color line.” His prediction is just as true for our 21st century. Black men and women in contemporary America are judged not by the content of their character, but by the color of their skin.

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A (Jewish) Biblical Case for Divestment

The Presbyterian Church (PCUSA) votes today on whether it will divest finances from Caterpillar, Hewlett-Packard, and Motorola Solutions. This decision will be even more controversial than the Church’s vote yesterday to allow ministers to officiate same-sex weddings.

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04/3/14“Christians who fault films for taking artistic license with a biblical story misunderstand the very nature of biblical literature…The Bible itself invites us to reimagine it.” – Matthew Rindge “Noah” and cinematic reimagining of the Bible

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“Noah” and cinematic reimagining of the Bible

Darren Aronofsky’s "Noah" is an epic reimagining of a biblical myth. It is the reimagining (not so much the myth) that has troubled certain kinds of Christians who have engaged in their predictable practice of critiquing a film without taking the time to see it.

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