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Jason Jacobs

dogged persistence they endure, for the most part, and outlast amid the challenges of a world unfit to acknowledge their belonging as creatures, children, of God. Milch’s vision is deeply religious, which is to say that without being associated with any formally organised religion, it is grounded in the revelation that redemption can be received by the most ‘unworthy’ (by their own lights) through their seeking out and participating in the daily sacrament of human ­sociality – ­conversation, argument, conflict: the full intensity of a pack of souls. Social and

in David Milch
Tom Gunning

questions desire for fulfilment: It might be lonelier Without the Loneliness – I’m so accustomed to my Fate – Perhaps the Other – Peace – Would interrupt the Dark – And crowd the little Room – Too scant – by Cubits – to contain The Sacrament – of Him – I am not used to Hope – It might intrude upon – Its sweet parade – blaspheme the place – Ordained to Suffering – It might be easier To fail – with Land in Sight – Than gain – My Blue Peninsula – To perish – of Delight – 90 Surrealism opened a portal

in Surrealism and film after 1945
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Jason Jacobs

and an availability to the solace and sacrament of the present moment (the ‘Quotidian Plural’ as Milch puts it), the ready miraculousness of it and its transient charismatics: fine notions, perhaps, but not exactly the engine of restless dissatisfaction with things as they are that has underpinned at least some of the beneficial human progress in material comfort, ethics and morality that has been achieved. There is more inspiration there, at least, than in the experience of consumption or the spectacle of Luke Perry. It was naive to imagine that either John or John

in David Milch
Douglas Keesey

‘is killed, because what one needs so much in order to live, the desire for illusions, disappears in her. And it’s her sister who wears mourning for this death’. 58 catherine breillat par le feu de la passion, le plaisir salissait’49 (Beauvoir 1958: 289–90, 166). With this religious context in mind, we can more readily understand the depth of Elena’s disappointment when her sacrament of love with her fiancé turns out to be a black mass of merely degrading sex in which her body’s temple is despoiled. It is because Elena so prized her virginity that its loss under

in Catherine Breillat
Brett Bowles

crossing a loaf before cutting reminds viewers that rural culture traditionally views bread and the grain from which it comes as everyday sacraments above any vulgar monetary exchange value. The scene moved a critic for Marianne to observe that ‘c’est avec ce qu’on pourrait appeler des “sentiments-matières-premières” que Pagnol fait ses admirables œuvres. Rien de plus “matière première” que le blé. Il

in Marcel Pagnol
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Jason Jacobs

the first place, and the AA model provides this by branding its members Alcoholics for Life, in ‘permanent recovery’, as if it were a genetic mutation. Nevertheless, their relationship flourishes, but it does so under the shadow of the show’s dark house style. The sacrament of the ordinary events of the world is shaded by the show’s need for the detectives to encounter ever more extreme and vicious crimes. It is as if Moby Dick was just one of an increasingly twisted pod of evil whales coming after The Pequod. Towards the end of episode two in season three, Simone

in David Milch
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Doctor Zhivago (1965), Ryan’s Daughter (1970) and A Passage to India (1984)
Melanie Williams

her first grown-up outfit’.79 Privileged young Tonya is juxtaposed with others the same age who are far less fortunate. When we next see Pasha, he is disfigured by a gaping vertical (vaginal?) sabre wound on his cheek, and Lara contemplates her reflection in the mirror once again after her forced sexual initiation by Komarovsky the night before. She goes to church seeking comfort but is warned by the priest that the ‘flesh is not weak, it is strong. Only the sacrament of marriage will contain it.’ After confession, leaving the church, a sleigh rounds the corner and

in David Lean
Keith Reader

( 1990 ), ‘The sacrament of writing: Robert Bresson’s Le Journal d’un curé de campagne (1951), in Susan Hayward and Ginette Vincendeau (eds), French Film: Texts and contexts, London and New York , Routledge . Reader , Keith ( 1998 ), ‘“D’où cela vient-il?”: notes on three films by Robert Bresson’ , in James Quandt (ed.), Robert Bresson, Cinémathèque Ontario , Toronto

in Robert Bresson
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From Les Bronzes to Ridicule
Lisa Downing

sacrament. The belief system piously invoked by the courtesans holds that language is the medium by which the subject not only interacts with the other, but has a transcendental relation with God, and therefore assumes ‘humanness’. This tendency to locate subjectivity in language has a more contemporary – and secular – equivalent in linguistically influenced poststructural theories. For psychoanalytic thinker

in Patrice Leconte
Fairytale, fable and myth in the Demy-monde
Darren Waldron

, adopts the stance of resolve and optimism towards the alienating environment in which he lives. He instructs Gavin in the insights of the Greeks and importance of scientific facts over religious faith, rejecting the clerical scholar Papias the Elder for the historian Heroditus. As a Jew, he is unbound by the strictures of Catholicism, evinced when he dismisses the Bishop for reading the Last Sacrament to Lisa. Despite the Star of David emblazoned on the reverse of his tunic, Melius acts as if God is superfluous, incapable of safeguarding the people, unlike medical

in Jacques Demy