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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
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
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