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Gérard Dastugue

her life. You feel it in the battles: she manages to rally a whole army around her, and once it’s all over, she loses everything. And then there are those visions. . . Joan’s visions are natural to start off with: wind, bells, doors, a stained-glass window which shatters. . . Except that it’s there to show that the ordinary can be extraordinary, and that you can believe one thing rather than another. I

in The films of Luc Besson
Cultural politics and art films in post-war Britain
Katerina Loukopoulou

(BFI) and international organisations like FIFA. As can be inferred from the correspondence of its film officers, the Arts Council was the first point of contact for regional art galleries and museums in the UK for advice about suitable new films on art. 38 The Council’s direct engagement with the exhibition of art films continued up to the early 1980s. But from 1956, the year that the Arts Council commissioned its first production – The Stained Glass at Fairford (Basil Wright) – until 1998, when the process of direct commissioning ended, the main focus of the

in British art cinema
Abstract only
Peter William Evans

own liberal use of jumpcuts, and fluorescent iris-outs between sequences. ‘Psychedelic’ is how Demy described his approach to Donkey Skin’s mise-en-scène (Simsolo 1971 : 70). Sets by San Francisco designer Jim Leon quote the psychedelic artists of the late 1960s who sought to render visually the effects of hallucinogens on the mind. The kaleidoscopic patterns of the castles’ stained glass windows, the placement of

in From perversion to purity
Des O’Rawe

only uses the documentary form to explore this aspect of Gaudí’s style, he renders it through the eyes of ikebana, as in, for example: the low-­angle shots of plant-­crowned balustrades along the viaduct at Parc Güell; the floral stained-­glass windows in the Colònia Güell Crypt; the bamboo garden and oriental fountain at Palau Reial de Pedralbes; the wrought-­iron floral railings and general decorative style of the Casa Vicens (a sequence which even includes shots of a woman arranging flowers in a spacious front room). Ultimately, it is in its mise en scène that

in Regarding the real
Leon Hunt

storytelling have ‘old media’ precedents – Jenkins gives the example of how in the Middle Ages Jesus’s story would have been told through stained-glass windows, tapestries and psalms, amongst other things (2006: 125). Comedy series have been generating spinoff books of varying quality since Monty Python’s Big Red Book (1971). A more recent example is The League of Gentlemen’s A Local Book for Local People (2000), which in some respects features similar kinds of material to that offered in ‘The Psychoville Experience’ – letters, diaries, flyers, ads and newspaper cuttings

in Cult British TV comedy
The auteur as an ekphrastic ghost
Maaret Koskinen

’s Children , which Bergman wrote a few years later. Take the following example in which the boy Pu accompanies his father, the parish parson, to a church sermon: He couldn’t care less—the service is so boring it’s almost incomprehensible. Pu looks around, and what he sees keeps him alive: the altarpiece, the stained-glass window, the murals, Jesus and the robbers in blood and torment. Mary leaning toward Saint John: ‘Look upon your son, look upon your mother.’ Mary Magdalene

in Ingmar Bergman
Abstract only
"The Pest House," "Hell House," and "The Murder House"
Julia M. Wright

, but no locks because of Desmond’s suicide attempts, for instance; in American Horror Story , the Tiffany stained glass was meant to reflect the color of Nora’s eyes (1.3), and the walls bear the traces of different owners’ tastes. Constance (Jessica Lange) repeatedly echoes scenes from Wilder’s film, and her larger narrative echoes the basic plot: in “Spooky Little Girl” (1.9), she talks at length to

in Men with stakes
Reconceptualising British landscapes through the lens of children’s cinema
Suzanne Speidel

playful composition. Similarly Nanny McPhee contains a moment when Aunt Adelaide’s carriage drives off into a misty sunset, after which an iris effect and a dissolve to a stained-​ glass window make it appear as if the carriage is a lead decoration within the coloured glass. This emphasises the graphic properties of the sunset and the carriage’s silhouette, while the iris and the window draw our attention to the framing of the landscape. In both films the landscape is at once exaggerated and distilled, the narrative coming to rest at carefully composed, idyllic moments

in British rural landscapes on film
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

: It was filmic. The richly coloured uniforms of the male Windsors and the glamorous, British-made dresses of the bride and her new family added to the Harry Potter effect of swooping television shots in the gothic, leafy and stained-glass illuminated Abbey. 52 These opening images of London work further to cement the

in The British monarchy on screen
Ruth Barton

below its apparently colour-blind surface (no one references Jessica’s mixed-race identity), the film’s Gothic conventions hint at other racial motifs that lend it the historical, culturally specific depth it seems at pains to deny. The Pandora’s Box that Grace opens at the film’s beginning is an old book that she stumbles across when carrying out restoration work on a church. The film travels swiftly from the stained-glass windows, pausing only to emphasise the positioning of the serpent entwined in the artwork, to the vault where an ancient text is stored. Opening

in Irish cinema in the twenty-first century