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Temporal origami in the Towneley Herod the Great
Daisy Black

year, which together brought distant moments into close proximity. 15 With its propensity to bring different moments together, Serres’ topology is particularly suited to the discussion of intermediary spaces, or what Kathleen Biddick calls ‘unhistorical temporalities’. 16 The Nativity plays partake of such an intermediary space because Christ has come, but has not yet died. As the following examination of the gospel shows, this is a moment which falls awkwardly between Passover and Passion, Hebrew and Christian law, Incarnation and Crucifixion, and prophecy and

in Play time
Author: Brian McFarlane

Brian McFarlane’s The never-ending Brief Encounter is above all a book intended for those who have seen and never forgotten the famous 1945 film in which two decent, middle-class people meet by chance, unexpectedly fall in love, but in the end acknowledge the claims of others. The book grew out of an article, the writing of which revealed that there was so much more to the after-life of the film than the author had realised. This book examines David Lean’s film in sufficient detail to bring its key situations vividly to life, and to give an understanding of how it reworks Nöel Coward’s somewhat static one-act play to profound effect. It also examines the ways in which the ‘comic relief’ is made to work towards the poignant ending. However, the main purpose of the book is to consider the remarkable after-life the film has given rise to. The most specific examples of this phenomenon are, of course, the appalling film remake with its miscast stars, and the later stage versions – both bearing the original title and attracting well-known players and positive audience and critical response – and an opera! As well, there are films and TV series which have ‘quoted’ the film (usually via black-and-white inserts) as commentary on the action of the film or series. There are many other films that, without direct quotation, seem clearly to be echoing their famous predecessor; for example, in the haunting visual quality of a deserted railway platform.

Demonising controversy in The Last Temptation of Christ and The Passion of the Christ
Karra Shimabukuro

There is also a substantial portion of hooey in it. (Hinson 1988 ) Gibson has not made a movie that anyone would call ‘commercial’, and if it grosses millions, that will not be because anyone was entertained. It is a personal message movie of the most radical kind, attempting to re-create events of personal urgency to Gibson. ( Ebert 2004) When Martin Scorsese’s The Last Temptation of Christ ( 1988 ) premiered, it was met by protests, boycotts and even fire-bombings in Paris theatres that showed the film, yet when Mel Gibson’s The Passion of the

in The Bible onscreen in the new millennium
Iconoclasm and film genre in The Passion of the Christ and Hail, Caesar!
Martin Stollery

The Passion of the Christ ( 2004 ) and Hail, Caesar! ( 2016 ) present us with two very different twenty-first-century approaches to American cinematic representations of what the latter film intriguingly refers to as ‘the godhead’. More specifically, these films adopt strikingly divergent positions in relation to representations of Christ. They are, of course, films that emerged from dissimilar contexts. The Passion of the Christ was a labour of love and faith, personally funded by director Mel Gibson, which became a major box office success. Hail, Caesar

in The Bible onscreen in the new millennium
Abstract only
Brian McFarlane

had included such epic-scale productions as The Robe (1953) and Cleopatra (1963) for Burton, The Pride and the Passion (1957) and El Cid (1961) for Loren. This is not to suggest that actors can’t and shouldn’t display versatility, but the kinds of baggage filmgoers might bring to bear on any new film starring such hugely known figures might well make it hard to accept them as an ‘ordinary’ couple. And this certainly proved to be the case. The point most relevant to this study is that major stars wanted to take on what Burton

in The never-ending Brief Encounter
The Lonely Passion of Judith Hearne (1987)
Neil Sinyard

The performances that have made the most impression on me, that have the deepest effect – when I narrowed it down to three out of the many – I realised are all those of character actresses. Judy Holliday in Born Yesterday , Giulietta Masina in La Strada and Maggie Smith in The Lonely Passion of Judith Hearne. In each what inspires me is their skill coupled with a presence, and by that I don

in Jack Clayton
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Lonely passions - the cinema of Jack Clayton
Neil Sinyard

way compensate for lack of real passion or concern’. 5 Even the complimentary quote from Alexander Walker that heads this chapter talks of ‘impersonal craftsmanship’: admittedly, it is coupled with ‘incisiveness’ and Walker is contrasting such craftsmanship favourably with modern, modish self-indulgence, but there is still the ghost of an impression of a reticent stylist who is typically and predictably English in the

in Jack Clayton
Abstract only
Sam Rohdie

Minimalism Mouchette (1967) and Le Journal d’un curé de campagne (1951) are returns to an ancient story, the Passion of Christ. In that story, as in Bresson’s two films, there are similar elements: chance (a series of encounters none of which are particularly connected, but all of which lead to a predestined end); predestination (though the paths to a final end are matters of chance and coincidence, the end itself is predetermined); freedom (the characters embrace their fate freely, not mere acceptance but an active embrace as understanding and thereby

in Film modernism
Douglas Morrey

Passion (1981), Prénom Carmen (1983) and Je vous salue Marie (1984). Alain Bergala calls these three films ‘une véritable trilogie, tant au niveau des thèmes que de l’esthétique’ 1 (Bergala 1999 : 26). However, Jean-Louis Leutrat has identified a different trilogy in Sauve qui peut , Passion and Prénom Carmen , ‘trois films qui mettent en scène des cinéastes attelés à des projets impossibles’ 2

in Jean-Luc Godard
Hollywood, Christians and the American Culture Wars
Karen Patricia Heath

and idiots and failures and creeps. But we’re called to the divine, we’re called to be better than our nature would have us be. And those big realms that are warring and battling are going to manifest themselves very clearly, seemingly without reason, here – a realm that we can see. And you stick your head up and you get knocked. (Gibson quoted in Boyer 2003 ) Mel Gibson’s emotional commentary on the significance of his biblical epic, the self-financed The Passion of the Christ ( 2004 ), followed on the heels of a major public controversy that saw numerous

in The Bible onscreen in the new millennium