Does it really matter that the Rev. Billy Graham and Hollywood shock-master Wes Craven are both products of Wheaton College, one of America's most important and symbolic evangelical Protestant institutions of any kind?
Well, that depends. On one level -- as someone who has taught in Christian colleges -- I find it interesting that a school as good as Wheaton has not produced legions of excellent screenwriters, journalists, directors, popular musicians, etc. However, the school (and this is normal for the evangelical world) has produced many fine thinkers and scholars, along with armies of people who work in Christian magazines, Christian publishing, Christian video production, Christian public relations, etc.
In a lecture on faith and vocations linked to the creation of culture, I always ask my students to name 10 famous evangelical Hollywood film directors. Then I ask them to do the same with Catholic film directors (devout and struggling). It's not a fair fight.
But back to Craven. At the heart of his most famous work was an image of a monster created by the sins of PARENTS, coming back to slice and dice their CHILDREN, who are attacked while they are, as one critic put it, safe in the "womb" of sleep. And what are those things on the monster's fingers? Surgical curettes?
Craven insisted that the key to his success was an understanding of what Americans fear the most, the subjects that cause intense nightmares of guilt, pain, shame and terror. Children dying because of the sins of their parents? Now that's an interesting vision right after, oh, 1973 or so.
Thus, I was rather stunned that The Los Angeles Times obituary for Craven (1) does not even include a reference to his famous alma mater and (2) did so little to explore the creative urges of this particular superstar director. And the New York Times? Hold that thought.
Here's the key material from the Los Angeles Times piece:
For Craven, making a scary movie was far more than simply a matter of delivering cheap shocks. It was an exercise in societal catharsis, a foray into the audience's collective unconscious.