4 Jenkins, Henry, “The Cultural Logic of Media Convergence” International Journal of Cultural Studies, 7, 1 (2004), 33–43.
6 John C. Green, “The American Religious Landscape and Political Attitudes: A Baseline for 2004,” document obtained via download from pewforum.org/publications/surveys/green-full.pdf.
7 A far more comprehensive account of the Evangelical worldview can be found in Heather Hendershot, Shaking the World for Jesus: Media and Conservative Evangelical Culture (Chicago: University of Chicago Press, 2004).
8 Christian Smith and Michael Emerson, American Evangelicalism: Embattled and Thriving (Chicago: University of Chicago Press, 1998), 39.
9 See Hall, Sheldon, “Selling Religion: How to Market a Biblical Epic,” Film History, 14 (2002), 173–79.
10 James Russell, “Debts, Disasters and Mega-musicals: The Decline of the Studio System,” in Linda Ruth Williams and Michael Hammond, eds., Contemporary American Cinema: US Cinema Since 1960 (New York: McGraw-Hill, 2006), 51.
11 See, for example, Peter Biskind, Easy Riders, Raging Bulls: How the Sex 'n' Drugs and Rock 'n' Roll Generation Saved Hollywood (London: Bloomsbury, 1998), 17.
12 Peter Kramer, The New Hollywood: From Bonnie and Clyde to Star Wars (London: Wallflower, 2005), 47–58.
13 Sara Diamond, Roads to Dominion: Right-Wing Movements and Political Power in the United States (New York: Guildford, 1995), 109–204.
15 James Davison Hunter, Culture Wars: The Struggle to Define America (New York: Basic, 1991).
16 Michael Medved, Hollywood vs America: Popular Culture and the War on Traditional Values (New York: HarperCollins, 1992), 3.
17 For a similar survey of opinions and movie content see Stephen Powers, David J. Rothman and Stanley Rothman, Hollywood's America: Social and Political Themes in Motion Pictures (Boulder, CO: Westview, 1996).
18 See Charles Lyons, The New Censors: Movies and the Culture Wars (Philadelphia: Temple University Press, 1997), 146–83.
23 For full details of Gibson's marketing efforts see James Russell, The Historical Epic and Contemporary Hollywood: From Dances with Wolves to Gladiator (New York: Continuum, 2007), 190.
24 Philip J. Boyer, “The Jesus War,” New Yorker, 15 Sept. 2003, 58–71.
25 Robert H. Woods, Michael C. Jindra and Jason D. Baker, “The Audience Responds to The Passion of the Christ,” in S. Brent Plate, ed., Re-viewing the Passion: Mel Gibson's Film and Its Critics (New York: Palgrave-Macmillan, 2004), 151–62.
26 Deborah Caldwell, “Selling Passion,” in Jon Meacham et al., Perspectives on The Passion of the Christ (New York: Miramax, 2004), 216.
28 Russell, James, “Narnia as a Site of National Struggle: Marketing, Christianity and National Purpose in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” Cinema Journal, 48, 4 (Fall, 2009), 59–76.
31 Stephen Kendrick, letter to exhibitors, included in the Flywheel promotional pack, Sherwood Production Files CD-ROM.
33 For details see Stephen Kendrick, letter to exhibitors.
35 Anon., “Facing the Giants Prayer Strategy,” included in the Sherwood Production Files CD-ROM.
36 Anon., “Facing the Giants, Sherwood Pictures Casting Call,” included in the Sherwood Production Files CD-ROM.
37 Leydon, review of Facing the Giants, unpaginated.
39 Leydon, review of Facing the Giants.
40 Scheck, “Inspirational Drama Scores a Surprise Hit,” unpaginated.
44 Stephen Kendrick, quoted in Bloom, “It's a Healthy Marriage of Faith and Filmmaking,” unpaginated.
45 Leydon, review of Facing the Giants, unpaginated.
51 The term “package unit production” was coined by Janet Staiger in David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Routledge, 1989), 330–38. The operation of the modern industry is most clearly described in Janet Wasko, How Hollywood Works (London: Sage, 2003).