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Description
This book uses the medium of film to explore poetic history as a subtle form of psychology expressed within Islamic and Japanese civilizations. It develops this “poetic history” as a nuanced alternative logic for understanding, and, more importantly, metabolizing the past through juxtaposed images, rather than linear cause-and-effect narrative.
History can be hegemonic, or it can be poetic. We are conditioned to accept a linear view of history, despite its repression of real but unrepresented experience. Thus, many lives, souls and stories remain latent and uncelebrated in contemporary societies. This book explores film's capacity to be a medium, like dreams, and like poetic and spiritual lineages, for a lively and empathetic vision of the past. Because of its capacities to dip beneath the surface of the “actual”, or in Deleuzian terms to leave the bounds of the frame, film provides us with unplanned access to wellsprings of the psyche in its relationship to the whole.
The book guides the reader through a tapestry of film experiences from within the Islamic and Japanese cultural and religious worlds. We explore films that are connected beneath the surface and share poetic, psychological and religious depths. As the book unfolds, we can see film after film weaving for us accumulated realities of collective psychology: child abandonment, ecological destruction, apocalyptic warfare, and generational trauma. An archetypal image of the human “wanderer” appears again and again within both poetry and film, an image that helps chart dangers of the collective journey as well as un-looked for potentials for love, healing, and renewal.
Table of Contents
Introduction
1. Hell, History and Perpetual Creation
2. A Poetic History: The Wanderer
3. Film and Poetic Transformation of Trauma
4. Monstrosity, the Beloved and Nature
5. Soul and the Sword
6. No Riddle But Time
7. Love That Tames
8. Surviving Totality
Bibliography
Index
Product details

Published | Jan 08 2026 |
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Format | Ebook (PDF) |
Edition | 1st |
Extent | 336 |
ISBN | 9798216255000 |
Imprint | Bloomsbury Academic |
Illustrations | 15 bw illus |
Publisher | Bloomsbury Publishing |
About the contributors
Reviews
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David Sander has shown the remarkable ability to analyze both Japanese and Muslim cinema, and to discover hidden connections in the ways they present visions of healing and compassion amidst suffering and loss. Like poetry, films create an alternative to the violence of history through offering images of hope and promise, defying selfishness and death by revealing the potential for new life and meaning.
John C. Lyden, Professor and Chair of Religious Studies, University of Nebraska Omaha, USA, and Editor of the Journal of Religion & Film, and Author of Film as Religion: Myths, Morals, and Rituals (2003)
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David Sander's A Poetic History explores the dreamlike liminal space between cinematic imagination and social reality and points to film's ability to disclose core subtleties of human experience. Through a panoramic archive of Japanese, North African, Iranian, and South Asian cinema he reveals how filmmakers manage the trauma of abandonment, the threat of ecological devastation, the dangers of war, and the possibilities of healing and transformation. The innovative intersection of Japanese and Muslim cinema brings an unfamiliar but welcomed pairing to the study of religion and film.
Kristian Petersen, Associate Professor of Philosophy and Religious Studies, Old Dominion University, USA, and Editor of Bloomsbury Handbook of Muslims and Popular Culture (2023)
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David Sander offers a scholarly journey through the metaphysics of Japanese and sufi cinema. He teases the threads of the subtle knots that bind Buddhism and Islam, revealing a tapestry rich with poetic meaning. The book demonstrates the possibilities of a poetic methodology as a norm of aesthetic exchange, which resists orientalist essentialism and plumbs for our deeper entanglements. A Poetic History will be uniquely valuable to scholars of film, history, and religious studies. It will also be of compelling to anyone who loves films with long uninterrupted shots, featuring those cinematic moments that disrupt secular time.
Syed Adnan Hussain, Associate Professor of Religion, Saint Mary's University, Canada