This bibliography gathers together major publications on Jesus in Film. Please email me with suggestions for additions and corrections.

See also Jeffrey Staley’s Annotated Bibliography on Jesus Films, Bible Films and more (PDF).


George Aichele and Richard G. Walsh (eds), Screening Scripture: Intertextual Connections Between Scripture and Film (Harrisburg, PA: Trinity Press International: 2002)

Peter Malone, Screen Jesus: Portrayals of Christ in Television and Film (Lanham: Scarecrow, 2012)

Adele Reinhartz, Jesus of Hollywood (Oxford: Oxford University Press, 2007)

Jeffrey Lloyd Staley and Richard G. Walsh, Jesus, the Gospels, and Cinematic Imagination: A Handbook to Jesus on DVD (Louisville, Ky: Westminster John Knox Press, 2007)

Richard C. Stern, Clayton N. Jefford, and Guerric DeBona, Savior on the Silver Screen (New York: Paulist, 1999)

W. Barnes Tatum, Jesus at the Movies: A Guide to the First Hundred Years and Beyond (3rd ed., Salem: Polebridge, 2013)

Richard G. Walsh, Reading the Gospels in the Dark: Portrayals of Jesus in Film (Harrisburg: Trinity Press International, 2003)



Richard S. Ascough, “Jesus: Real to Reel,” Word and World 29/2 (2009), 179-86, S. Ascough, “Jesus Films and Jesus’ Identity” Good Idea 8/2 (2004): 5-6

Lloyd Baugh, Imaging the Divine: Jesus and Christ Figures on Film (Kansas City, MO: Sheed & Ward, 1997)

William L. Blizek (ed.), Exploring Mel Gibson’s The Passion of the Christ, The Journal of Religion and Film 8 Special Edition 1 (2004),

Helen Bond, “Jesus through the eyes of an Irish republican,” Bible and Interpretation (2010),

Ian Christie and David Thompson (eds.), Scorsese on Scorsese (Rev. ed.; London & New York: Faber & Faber, 2003), 116-145, “The Last Temptation of Christ”

Kathleen E. Corley and Robert L. Webb (eds.), Jesus and Mel Gibson’s The Passion of the Christ: The Film, the Gospels and the Claims of History (London: Continuum, 2004)

John Dominic Crossan, “Hymn to a Savage God,” in Robert Webb and Kathleen Corley (eds.), Jesus and Mel Gibson’s The Passion of the Christ: The Film, the Gospels and the Claims of History (London & New York: Continuum, 2004), 8-27

James G. Crossley, “Life of Brian or Life of Jesus? Uses of Critical Biblical Scholarship and Non-Orthodox Views of Jesus in Monty Python’s Life of Brian,” in Relegere: Studies in Religion and Reception 1 (2011): 93-114

Philip R. Davies, “Life of Brian Research,” in J. Cheryl Exum, Stephen D. Moore (eds.), Biblical Studies / Cultural Studies: the Third Sheffield Colloquium (London: Continuum, 1998): 400-413; or Philip Davies, Whose Bible is it Anyway? (2nd ed.; London: T and T Clark, 2004): 142-53

Paul V. M. Flesher and Robert Torry, “Filming Jesus: Between Authority and Heresy”, Society of Biblical Literature Forum, 2003,

Paula Fredriksen (ed.), On The Passion of the Christ: Exploring the Issues Raised by the Controversial Movie (Berkeley: University of California Press, 2006)

Roy Kinnard and Tim Davis, Divine Images: A History of Jesus on the Screen (New York: Citadel, 1992)

Mark Goodacre, “The Synoptic Jesus and the Celluloid Christ: Solving the Synoptic Problem through Film,” Journal for the Study of the New Testament 80 (2000) 31-43

Mark Goodacre, “Do You Think You’re What They Say You Are? Reflections on Jesus Christ Superstar,” Journal of Religion and Film 3/2 (1999),

Mark Goodacre, “The Power of The Passion of the Christ: Reactions and Overreactions to Gibson’s Artistic Vision,” Robert Webb and Kathleen Corley (eds.), Jesus and Mel Gibson’s The Passion of the Christ: The Film, the Gospels and the Claims of History (London & New York: Continuum, 2004), 28-45

Mark Goodacre, “The Talpiyot Tomb and the Bloggers,” in Eric M. Myers and Carol Meyers (eds.), Archaeology, Bible, Politics and the Media: Proceedings of the Duke University Conference, April 23–24, 2009 (Winona Lake: Eisenbrauns, 2012): 56-68 (reproduced at:

Bill Jenkins, “Jesus Christ, Superstar? Why the Gospels don’t make good movies,” Journal of Religion and Film 12/2 (2008),

Clive Marsh, “Jesus as Moving Image: The Public Responsibility of the Historical Jesus Scholar in the Age of Film,” in Tom Holmén and Stanley E. Porter (eds.), Handbook for the Study of the Historical Jesus (4 volumes; Leiden: Brill, 2011): 3155-78

Darren J. N. Middleton, Scandalizing Jesus?: Kazantzakis’s The Last Temptation of Christ Fifty Years On (New York: Continuum, 2005)

V. Henry T. Nguyen, “The Quest for the Cinematic Jesus: Scholarly Explorations in Jesus Films,” Currents in Biblical Research 8 (February 2010): 183-206

Kim Paffenroth, “Film Depictions of Judas,” Journal of Religion and Film 5/2 (2001),

Brent Plate (ed.), Re-Viewing the Passion: Mel Gibson’s Film and Its Critics (New York: Palgrave MacMillan, 2004)

Margaret E. Ramey, “What’s the Harm in Harmonization? Using Jesus Films in the Classroom to examine the Crucifixion Narratives,” in Jane S. Webster and Glenn S. Holland (eds.), Teaching the Bible in the Liberal Arts Classroom (Sheffield: Sheffield Phoenix Press, 2012)

Adele Reinhartz, “Jesus in Film: Hollywood Perspectives on the Jewishness of Jesus,” Journal of Religion and Film 2/2 (1998),

Jeffrey Staley, “The Crucifixion of Jesus in Films and in the Gospels,” SBL Teaching the Bible e-pub,

Jeffrey Staley, “Why use Jesus Films when teaching the Synoptic Gospels?” Bulletin for the Study of Religion 42/4 (November 2013): 37-43

Jeffrey Staley, “Resurrection Dysfunction, or One Hundred Years of Cinematic Attempts at Raising a Stiff (John 11:1–46),” in Stephen Moore and Tom Thatcher (eds.), Anatomies of the Fourth Gospel. Resources in Biblical Studies (Atlanta: Scholars, 2008): 195-220

William R. Telford, “Jesus Christ Movie Star: The Depiction of Jesus in the Cinema” in Clive Marsh and Gaye Ortiz (eds.), Explorations in Theology and Film (Malden, MA: Blackwell, 1997): 115-139

Geza Vermes, “A Television Documentary on Christ and the British Press: Channel 4’s Jesus: the Evidence” (April 1984) in The Real Jesus: Then and Now (Philadelphia: Fortress, 2010), 63-72

Hans Wiersma, “Redeeming Life of Brian: How Monty Python (Ironically) Proclaims Christ Sub Contrario,” Word & World 32/2 (Spring 2012): 166-77

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