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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
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
Representations of Marseille

titles ensuring that some photographs are spatially specifiable. Therefore the Vieux Port, L’Estaque, the quartiers nord and Le Panier are all cited, reinforcing the idea of the city being divided into neighbourhoods whose lines are seldom breached. Another common trend is gender division: whereas men are seen mostly in the workplace or leading religious congregations, women are often confined to the domestic sphere and especially the kitchen. In addition, Jeanmougin’s tendency to depict women – ­particularly brides – at times of celebrations showcases religious and

in Representing ethnicity in contemporary French visual culture
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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
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
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), is appointed director of Popular Pageantry for the Reich. They become estranged by her pro-Nazi sympathies and his progressive alienation from the regime. This is caused by the murder of his friend Father Landbach for asking his congregation to pray for a list of arrested people; by the rape by a Gestapo officer and subsequent imprisonment in a concentration camp of the fiancée of a young radio engineer; by the arrest of a succession of friends, including the

in Cinema and radio in Britain and America, 1920–60
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voice soaring to the rafters on her solo – ‘The Lord is my Shepherd’ – she spots Korchinsky in the congregation and her confidence drains away. Like a choirboy robbed of his top notes by the onset of puberty, Gillie’s voice is broken by her awareness of Korchinsky. She can no longer sing for the wedding because, although she does not realise it, she is experiencing a nuptial moment of her own. At the end of the service he

in J. Lee Thompson

processions illustrate the role played by inner-city churches during years associated with spreading secularisation. Religious festivals supplied many locally supported organised activities until urban churches were closed, demolished or severed from their earlier congregations by redevelopment schemes. As Ralph Brookes filmed the closure of St Cyprian’s Church and its demolition, he unwittingly captured the evolution of faith

in Amateur film

used by Catholic priests of male members of their congregation, but here delivered as invective, aimed at a prodigal offspring whose waywardness has incurred the wrath of an impatient father. Julius was twice the age of Michelangelo, and Rex Harrison (born 1908) sixteen years older than Charlton Heston (born 1924). When Julius appears to dismiss the infirm Michelangelo from the project, claiming he has employed the younger

in Carol Reed
Franju’s cinema in the age of the court métrage

important religious edifice. Clerics and worship-pers are, however, almost entirely absent from the film, in part because the Ministère des Beaux-Arts asked Franju not to film services or the clergy (Vialle 1968 : 172). Instead, he represents cardinals metonymically by their red hats and includes just two shots of nuns, one full shot of two flapping wimples, and one close-up from the back of a nun collecting for the poor, her

in Georges Franju