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The cinematic afterlife of an early modern political diva
of an angel, bird or perhaps a butterfly. Part of the fabric is diaphanous, airy, almost like gossamer. The radiance and brilliance of the Queen in the ‘Rainbow’ portrait is precisely what is evoked by the luminous quality of Kapur’s film language in this last scene. With this final example, we have arrived in the realm of a highly self-conscious reflexivity. The final sequence quotes portraits of Elizabeth as well as