The fact that the film be a Gnostic tendency eminently American is the result of a peculiar mix of religion and mysticism with origins in popular literary forms in that country since the eighteenth century Puritanism passing through periodic revivals of religion and mysticism as Mormons and Pentencostal at the turn of the nineteenth century to the techno-mysticism originated in the 60s.
"The Great Awakening in the mid-eighteenth century has been accompanied by at least three other embodiments according to Robert Fogel: the second at the turn of the nineteenth century, with religious and philosophical implications of Transcendentalism in high literature but also in the many manifestations of popular literature, including the Spiritualist movement, Theosophy and new religions and cults like the Mormons and the Gnostics "Christian Scientists" and "Shakers." The third Great Awakening, Fogel says, occurred between 1890 and 1930 and we are still in the middle of the quarter that began in the 1960s "(Nelson, Victoria. The Secret Life of Puppets. Havard University Press, 2001, pp. 76-7 ).
"Joseph Smith describes these sacred novelistic adventures in the Book of Mormon, to produce, as John Brooke has observed a particular Americanization of theology Renaissance to join aspects of hermeticism, Gnosticism, alchemy and magic to produce a popular 'totally full' alternative to Christianity "(Nelson, Victoria. IDEM).
"Hollywood, therefore, reacts to suspected manipulation aesthetics that it is addressed to reactivating a metaphysical suspicion even more ancient and profound - the suspicion that the world could be a noticeable film shot on a remote metahollywood. In this case, Hollywood films would be "more real" than reality, as it usually does not show nor the artificial character of its own or what is beyond him. The new Hollywood movie, instead, shall, to reflect on their own procedures, a new metaphysics that interprets the act of creation as a studio production. "(Groys, Boris." Gods Enslaved - a metaphysical twist of Hollywood, "In: More! Folha de Sao Paulo, 03.06.2001, p. 5.)