Search results

You are looking at 1 - 10 of 18 items for :

  • religious congregation x
  • Film, Media and Music x
  • All content x
Clear All
Catholicism and devotion in The Smiths

4 ‘Heaven knows we’ll soon be dust’: Catholicism and devotion in The Smiths Eoin Devereux ‘In six months time, they’ll be bringing flowers to our gigs’ (Morrissey, 1983)1 Introduction In this chapter I focus on the Catholic and broader religious dimensions of The Smiths. In doing so, I locate the significance of their Catholicism and their fans’ obvious devotion in the context of recent debates concerning the apparent nexus between popular music and religion. What we might term as either the ‘theological’ or ‘occultural’ turn within analyses of contemporary

in Why pamper life's complexities?

religious products, in turn related to the current right-wing trend all around the world in society and the media, as well as in politics. This analysis combines an appreciation of this strategy, reflecting on these productions and their consumption in the current media landscape by drawing on Cultural Studies and Mediation Theory. As a result, it proposes a cultural diagnosis of Brazilian media, showing that the modern biblical epic is itself a reflection of society not only in regard to media products but to the demands of audiences as well. Brazil’s TV landscape

in The Bible onscreen in the new millennium
The Lonely Passion of Judith Hearne (1987)

situation of a middle-aged woman under stress – in Judith’s case, intensified by loneliness and the loss of her closest relative, her aunt. When her hopes of the possibility of a romantic relationship with James Madden turn out to have been built on sand, she gives in to her one great weakness, alcohol, which in turn leads to a terrible crisis of religious faith. As in The Pumpkin Eater , there is a moment of planned incongruity

in Jack Clayton
Abstract only

Durkheim’s notions of exhaustion and effervescence, explored in The Elementary Forms: Society cannot revitalize the awareness it has of itself unless it assembles, but it cannot remain continuously in session … The form of this cycle is apt to vary from one society to another. Where the period of dispersion is long or the dispersion is very great, the period of congregation is prolonged in turn, and there are veritable orgies of collective and religious life … This is true of the Australian tribes and of several societies in the American North and Northwest. Elsewhere

in Time and memory in reggae music
Demonising controversy in The Last Temptation of Christ and The Passion of the Christ

. However, other Christ films have told this story without escalating the visual violence like Passion does. Watching the movie becomes a visceral experience, affect, the audience flinches at the beatings, looks away from the blood, the flayed back. Reviewers spoke of feeling ‘abused’ and ‘punished’ and the film was generally reviewed poorly. Conservative Christians, evangelicals, Roman Catholics, responded differently: the film became a religious experience, a phenomenon. Churches across America organised field trips to movie theatres so their congregation could

in The Bible onscreen in the new millennium
Background and early filmmaking

this tranquil simplicity. In Ars, Demy superimposes one temporal moment, recounted in the voiceover narration, over another, depicted in the image-track. Ars focuses on the final section of the life of Jean-Baptiste-Marie Vianney, a Catholic priest, canonised by Pope Pius XI in 1925, who led the parish of Ars-sur-Forman from 9 February 1818 to his death on 4 August 1859. Demy recounts his transition from humble servant of the Christian God to a tyrannical fanatic who alienates his congregation, with his death and supposed ‘afterlife’ forming the focus of the last

in Jacques Demy
Abstract only
The countryside and modernity

, like the village church and the village itself, as a deep repository of memories. On this and other occasions in the film, the past and present appear to merge into each other. These moments are often breathtaking, such as the moment when the film cuts from the interior of the church when the congregation is singing in the present day to the same space decades earlier, when soldiers take up the hymn. Time appears to shift and break down in other interesting ways. The potential for current and future warfare is evoked by the roar of the jet fighter which appears over

in British films of the 1970s

and the director but relies on others to carry out the technical roles, to those in which the ethnographer does everything, participating in the action, directing the film, as well as carrying out all the technical roles. An interesting example of the first case, in which the ethnographer appears as a leading character in a film directed by others, is Koriam’s Law and the Dead who Govern , released in 2005. This film concerns the ideas and practices of the Kivung Association, a religious and

in Beyond observation
From Le Thé à la menthe to La Fille de Keltoum

des femmes , which attacks the FLN’s failure to reform Islamic laws pertaining to the sex/gender system. However, in most instances, beur films refer to Islam only through scenes of local colour provided by religious celebrations such as Eid and Ramadan. Given the demonisation of Islam in the press and in mainstream cinema (as in Alexandre Arcady’s L’Union sacrée , 1989), it is perhaps not surprising that Zemmouri’s 100% Arabica and Bahloul’s La Nuit du

in Reframing difference

Methodist congregation involved in the ‘fellowship’ of ‘communal worship’. Their hymns are held over shots from the pub, as if enveloping Henry in that fellowship, offering the sanctuary of the hallelujah handshake – in his script, Welland (1970) describes the pub as ‘a church substitute’. Unlike Henry’s thoughts, those of the congregation are accessed, through brief interior monologues during the hymn: ‘Please, God, a baby’; ‘Christ! Why has your strident call to arms peppered your ranks with these post-menopausal monsters?’; ‘Must remember to put the lamb in early’. The

in Alan Clarke