@article {304,
	title = {From {\textquoteright}Televangelist{\textquoteright} to {\textquoteright}Intervangelist{\textquoteright}: The Emergence of the Streaming Video Preacher},
	journal = {Journal of Religion and Popular Culture},
	volume = {23},
	year = {2011},
	pages = {101-117},
	abstract = {The present study begins by recovering the origins of the terms "televangelism" and "televangelist." "Televangelism" first appeared in 1958 as the title of a proselytization project of the Southern Baptist Convention that combined dramatic television programs with efforts to engage viewers in person. "Televangelist" was introduced in 1975 to describe an emerging type of American television preacher, the most successful of whom built powerful parachurch organizations. The neologism "intervangelist" is then presented to label contemporary video preachers broadcasting online. A content analysis of video platforms on the site Streaming Faith reveals a group of intervangelists who head established or aspiring megachurches. It is demonstrated that the information and opportunities for interaction surrounding the videos of these intervangelists provide their ministries with tools for gaining the attention and donations of viewers, as well as resources for attracting physical attendees to their churches. },
	keywords = {Christianity, Evangelicalism, internet, Streaming Video, Televangelism},
	url = {http://utpjournals.metapress.com/content/10v704n674gjn622/},
	author = {Bekkering, Denis J.}
}
@article {1507,
	title = {When Church and Cinema Combine: Blurring Boundaries  through Media-Savvy Evangelicalism },
	journal = {Journal of Religion, Media and Digital Culture},
	volume = {3},
	year = {2014},
	chapter = {84},
	abstract = {The use of social media presents new religious groups with opportunities to assert themselves in contrast 
to established religious institutions. Intersections of church and cinema form a central part of this 
phenomenon. On one hand, many churches embrace digital media, from Hollywood clips in sermons to 
sermons delivered entirely via video feed. Similarly and overlapping with this use of media, churches in 
cinemas have emerged around the world as a new form of Sunday morning worship. 
This paper investigates intersections of church and cinema through case studies of two representative 
congregations. CityChurch, in W{\"u}rzburg, Germany, is a free evangelical faith community that meets in a 
downtown Cineplex for Sunday worship. LCBC (Lives Changed by Christ) is one of the largest mult-sited megachurches on the American East Coast. While LCBC{\textquoteright}s main campus offers live preaching, 
sermons are digitally streamed to the rest. Both CityChurch and LCBC exemplify growing numbers of 
faith communities that rely on popular musical and social media to 1) redefine local and global religious 
relationships and 2) claim identity as both culturally alternative and spiritually authentic. By engaging with international flows of worship music, films, and viral internet sensations, new media-centered faith communities like CityChurch and LCBC reconfigure established sacred soundscapes. 
CityChurch{\textquoteright}s use of music and media strategically differentiates the congregation from neighboring 
traditional forms of German Christianity while strengthening connections to the imagined global 
evangelical community. LCBC creates what cultural geographer Justin Wilford dubs a {\textquotedblleft}postsuburban 
sacrality{\textquotedblright} that carves out meaning from the banality of strip-mall-stubbed  suburban existence. Analyzing 
the dynamics of music and media in these new worship spaces assumes growing importance as 
transnational music and media choices play an increasingly a central role in locally differentiating 
emergent worship communities from historically hegemonic religious neighbors. 
},
	keywords = {Church, Cinema, Cineplex, CityChurch, Evangelicalism, Germany, Media-Savvy},
	url = {http://jrmdc.com/wp-content/uploads/2014/05/Justice.pdf},
	author = {D Justice}
}
