The eye of the hurricane. A value sociological analysis of the film Passion

The paper analyses the provocative elements and stormy reception of Gibson's 'Passion' with the help of Morris's semiotic-axiological conceptual set. It compares the manipulation of appearance with the manipulated sight of the frescoes in Baroque domes opening to the physical sky and the metaphysical Heaven. In the latter one it interprets the pia fraus stressed by Küng with the pragmatic approach of semiotics. Zwick's finding that the film has nothing much to do with the passion story of the Gospel, moreover, it falsifies the context reconstructed by biblical studies, and it is rather the filming of the joint work of Emmeric-Brentano's late German romanticism, puts it in parallel to Gyula Morel's radical criticism of the Church, according to which the fundamentalist schools do not go back to the pure source, but only up to those periods, when the influence of religion was stronger than it is today. Viewing the film instigates the reflexive mind to the meta-level recognition, probably not intended by the director of the film, that one should revise such a godly image of violent tribalism that would set the example of 'drunken by blood' as a solution to the problems of man.