The Da Vinci Code: Fact or Fiction? [antikvár]

FOREWORD 'i' I by Hank Hanegraaff WHEN MEL GIBSON produced The Passion of the Christ—a movie that substantially follows the contours of the New Testament accoimts of | ¦ Jesus' death—^he became the immediate subject ,! f ; of controversy. Leon Wieseltier, the literary • editor of The New Republic, called The Passion "a repulsive, masochistic fantasy, a sacred snuff a/ film" that is "without any doubt an anti-Semitic movie."^ Maureen Dowd, writing in The New York Times, accused Gibson of "courting bigotry in the name of sanctity. And Andy Rooney of 60 Minutes fame characterized Gibson as "a real nut case" whose ulterior motive was making money.^ Conversely, when Dan Brown released The Da Vinci Code'^—^a novel that characterizes the New Testament Gospels as "fabrications" and the deity of Christ as a fable—^he was immediately lauded as a brilliant historian. Library Journal characterized his work as "a compelling 1- ' & . 11. ¦ i I. .1 ' f