Intimate Portrayals of Nuns in Postwar Anglo-American Film
Publication Year: 2013
Published by: Fordham University Press
Title Page, Copyright Page
Download PDF (136.3 KB)
Download PDF (90.4 KB)
Download PDF (93.4 KB)
I am grateful to the History Department at the University of Hong Kong, which gave me a home away from home where I could work on this book in an intellectual environment of serious engagement with religious history and culture, and in particular, to colleagues Frank Dikotter, Staci Ford, and Bert Becker who supported me ...
Download PDF (185.1 KB)
If anyone has suffered from typecasting, it is the cinematic nun. Enveloped in a religious veil and habit that show her only in part and are barriers to imagining her as a whole person, she has been vulnerable to stereotypes that complete the visual process of fragmenting her on-screen.1 ...
1. Selfless Desires: Sacrificial and Self-Fulfilling Service to Others in Casablanca (1942), The Bells of St. Mary’s (1945), and The Inn of the Sixth Happiness (1958)
Download PDF (359.7 KB)
When Ingrid Bergman appeared on-screen as Sister Mary Benedict in The Bells of St. Mary’s, she was already a major film celebrity, but she made the film nun herself a star who “light(s) up dark lives . . . with luminous Hollywood beauty” (Loudon 1993: 16). The movie reviewers in 1945 felt that Bergman succeeded in representing the Catholic nun ...
2. Sexual Desires: Repression and Sublimation in Black Narcissus (1947), Heaven Knows, Mr. Allison (1957), and Sea Wife (1957)
Download PDF (431.5 KB)
Michael Powell and Emeric Pressburger’s 1947 film Black Narcissus dramatized the vocational crises of five Anglican sisters who struggle to establish a missionary foothold in the Himalayas, and the tragedy that unfolds when the neurotic Sister Ruth disintegrates under the strain, forsakes her vows, and runs amok. ...
3. Subjective Desires: The Role of the Catholic Family Romance in The Nun’s Story (1959)
Download PDF (414.6 KB)
When Audrey Hepburn appeared on-screen in 1959, looking immaculate in a black-and-white habit, the nun was still a figure veiled in mystique. This mystique derived its power from the traditional religious view that she “binds herself to a state of perfection, which requires a striving toward holiness that is . . . life-long” (Donovan and Wusinich 2008: 39). ...
4. Sonorous Desires: Sweet, Spirited, and Stirring Voices in The Sound of Music (1965) and Change of Habit (1969)
Download PDF (454.2 KB)
The Nun’s Story comes to an end in solemn silence, a silence heavy with Sister Luke’s sadness and regret at failing to become “the perfect nun . . . obedient in all things unto death.” When she leaves the convent, she does not close the door behind her. Technically, this allowed the camera, which stays behind inside the cloister, to watch her cross the threshold and walk down the alleyway into the unknown. ...
5. Sacred Desires: Passion and Pathology in In This House of Brede (1975) and Agnes of God (1985)
Download PDF (425.5 KB)
Reflecting on the effect that the Second Vatican Council had on American Catholic nuns in the 1960s, distinguished Benedictine leader and religious writer Sister Joan Chittister remarked that this decade of unprecedented change and renewal “was wonderful and it was terrible. It started with hope and excitement and ended in a lot of bitterness and difficulty for a long time.” ...
6. Spiritual Desires: Sin, Suffering, Death, and Salvation in Dead Man Walking (1995)
Download PDF (314.0 KB)
In the five previous chapters, I have explored the range and complexity of the desires that nuns unveil on-screen and shown how these subvert one view of religious life voiced by Sister Luke, that “a nun is not a person who wishes or desires.” While traditional nuns regard the selfless surrender to God in agape as their supreme purpose, ...
Conclusion: Suspect Desires: The End of a Religious Illusion in Doubt (2008)?
Download PDF (320.7 KB)
When I originally conceived this study, I envisaged Dead Man Walking as “the light at the end of the road” for the representational journey that women religious take in postwar popular film. It would have been satisfying to conclude on an uplifting note with a film that means so much to contemporary nuns and that honors their continuing work ...
Download PDF (270.6 KB)
Download PDF (156.1 KB)
Page Count: 320
Publication Year: 2013