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Catholicism and devotion in The Smiths

in a number of interviews that the Morrissey family’s adherence to Catholicism faltered quite significantly in the mid-1960s. In one interview, he referred to his family home as being ‘[q]uite vividly Catholic. Then it became vaguely Catholic.’17 In the same interview, however, he acknowledged the lasting power of a repressive Catholic childhood especially when it came to inculcating guilt and worthlessness. He described his experiences as follows: The Catholic Church has nothing in common with Christianity. I can remember being at school on Mondays and being asked

in Why pamper life's complexities?
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ramifications of religious fundamentalism. Inter alia he interviewed ‘born-again’ Christians, looked at the careers of 107 108 The documentary diaries Jim and Tammy Bakker, and the pursuit of money under the guise of requesting religious donations. In a later film Celibacy, Antony investigated the whole question of celibacy for ordained clergy in the Catholic church. In his opinion the thousand year-old doctrine had parallels in the Church’s attack on Galileo, who argued the earth went round the sun, not vice versa. Eventually the church came round to acknowledging

in The documentary diaries
Social contexts in L’Inchiesta and Risen

both films tap into social anxieties about religion and justice following their own social and cultural contexts. The biblical-procedural film: looking for justice in an unjust world For centuries, the Roman Catholic Church withstood all the currents of change in history and maintained a closely shielded orthodoxy which has always served as the centre of all Christianity. Currently, this orthodoxy is battling one of its greatest challenges: a diminished commitment to the Church. ‘Pupils, families and teachers live in the cultural noise and traffic of the twenty

in The Bible onscreen in the new millennium

Single plays and a conclusion 4 This chapter brings together an account of McGovern’s single plays for television and ends with a brief Conclusion to the book. In certain respects it would also have been useful to cover McGovern’s work for cinema in Priest, Heart and Liam, which offer interesting points of comparison to the single plays for television, particularly through the intensity of their scrutiny of the Catholic Church. However, strictly speaking, cinema is beyond the scope of this series, and space restrictions dictate that such a boundary needs to be

in Steve Blandford

suffered by Ramón. Antena 3 defended its decision to run the controversial footage given its ‘indudable importancia social’ ( El Mundo , 6 March 1998), despite ferocious attacks from Ramón’s family, television viewers’ associations and Spain’s Catholic Church. Also, shortly afterwards, in an effort to decriminalise assisted suicide and protect the friends who had helped him, many thousands of Spaniards signed a national DMD

in Alejandro Amenábar

angel shows to John the whore in the desert, she is described as “clothed in purple and scarlet, and adorned with gold and jewels and pearls, holding in her hand a golden cup” (Revelation 17: 4). For the rastas, these attributes clearly refer to the Roman Catholic Church, whose hierarchy wears scarlet clothes, holds golden cups, and has amassed gold and jewels. The condemnation of Babylon in the Bible is therefore an explicit condemnation of the Roman Catholic Church, and the whore is Rome, who sold herself to the Devil in order to gain more riches and power (indeed

in Time and memory in reggae music
Modernising Spain through entertainment television

a confessional state under Franco. He even talked of the Civil War as the Last Crusade. The relation­ship between the Catholic Church and the dictatorship continued until the end of the regime. In 1953, because of the direc­ tion that the Cold War had taken, the United States and the Holy See accepted Spain back into the international fold, thus initiating a slow but continuing move towards a more open, progressive political system. In this context, in 1956, TVE was created and, in the same year, Spain was admitted as a member of the United Nations. The following

in Popular television in authoritarian Europe
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religious faithful not descended from the 1980s Moral Majority – according to Melanie J. Wright, ‘whilst Gibson belongs to a traditionalist Catholic church, the film found popularity with mainstream Catholics, Protestants, and other Christians’ ( 2008 : 168). Furthermore, it does indicate the monetary power held by those adhering to a faith-based worldview following a period of perceived social secularisation. And even this cultural moment, this film particularly, still has political resonances. According to entertainment journalist James Ulmer, Steve Bannon, the far

in The Bible onscreen in the new millennium
Demonising controversy in The Last Temptation of Christ and The Passion of the Christ

. He is always what the other side needs him to be. Perhaps if we can learn to see this, and learn from it, we can see the emptiness of the rhetoric that employs him. Notes 1 The term ‘Culture Wars’ was first used by James Davison Hunter in 1991 in his book Culture Wars: The Struggle to Define America . 2 Vatican II sought to bring the Catholic Church into the modern world, making several radical, and unpopular, changes such as changing the language of the Mass from Latin to the vernacular, a focus on active participation and a change in the Church

in The Bible onscreen in the new millennium
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Through feminine eyes

totalitarian regimes and repressive military dictatorships. Although it is important to emphasise that these repressive military regimes, such as the Franco regime, changed dramatically over their years of rule, under totalitarian regimes or military dictatorships almost no single physical or symbolic space can escape their omnipotence. For instance, right until the death of Franco in 1975, one could neither criticise the Catholic

in Hispanic and Lusophone women filmmakers