Chapter 2 explores, chronologically, exhibition by exhibition, the ways in which stained glass was physically displayed at the international exhibitions, and charts the reaction of exhibition organisers, exhibitors, the public and critics to some of the main official and unofficial stained glass displays at these events. It therefore provides an overview of the significance of stained glass at these events, and reveals changing attitudes towards the displays of stained glass within these new environments.

Chapter 1 focuses on the classification and status of stained glass, revealing the ways in which international exhibitions contributed to debates over its artistic status, display and arrangement within the exhibition environments. It begins by examining the theoretical problems and potentialities of displaying an architectural art such as stained glass in a temporary exhibition setting, putting it into a museological context. It also explores how official exhibition classification schemes propagated interpretations of stained glass as a manufactured product rather than a decorative art. Finally, it addresses issues of artistic education, practice and labour in relation to nineteenth-century stained glass, interrogating the role of the artist in an age of industrialisation, and argues that in this era, stained glass was intrinsically hybrid, a product of collaborative labour.

This chapter explores the future of film screening at home and in cinema houses in the digital age with developments such as of back-projection, plasma and liquid crystal display (LCD) television sets; five, six and seven-channel surround sound, such as Dolby Digital and Dynamic Theater Sound; digital broadcast technology offering High Definition Television (HDTV); and the Digital Versatile Disc (DVD). It first provides the reasons for the popularity of multiplexes among the audiences in Britain when cinema had been declining prior to their inception. The chapter examines the myth of choice" of the movies or product as it is known in the production

This chapter shifts the focus away from the 'father-daughter' relationship, which has been identified by Ginette Vincendeau as a familiar trope of French cinema, to an exploration of homoerotic relationships, and the way in which masculine identity is problematised by the film. It turns away from the phallic, and focuses on the father which it implies; it will turn away from the questioning of the phallic through feminisation and hystericisation, and the heteronormative binaries which these structures imply. Instead, it will question the phallic economy by reference to the cloacal, the maternal and the homoerotic, with reference to what Calvin Thomas calls 'scatontological anxiety'. The chapter shows how Léon works through a complex structure of abjection, establishing a cloacal labyrinth, where men's business and mess come together climactically in rectal homo-erotics, 'shattering' and 'splattering' masculine identity.

The immediate post-war period saw the zenith of cinema-going in Britain but in the 1950s the audience began to shrink, slowly at first and then more rapidly. There was a complementary decline in the number of cinemas in Britain. All of the major cinema chains ran organised Saturday morning clubs after the war in order to stimulate the cinema-going habit amongst children. The end of the 1940s, in the aftermath of the Second World War, once again witnessed the government intervening in the film industry and in doing so it continued a pattern established with the Cinematograph Act 1909. During this Golden Age the working class lived and worked in integrated communities, the families who played together stayed together, and cinemas were pleasure domes where the British could live out their fantasies.'

Chapter 4 seeks to ascertain whether those makers who exhibited stained glass at these events were representative of the nineteenth-century stained glass industry at large. It outlines exhibitors’ roles in the bureaucratic organisation of exhibitions and their commercial incentives for participating, revealing how exhibitors responded to the demands of consumers. It demonstrates that these displays helped exhibitors gain commissions and influence abroad, and considers the ways in which these events shaped exhibitors’ reputations.

The release of Jeanne d'Arc in France was meant to cement the Le Cinquieme element's huge success. However, by the time of its release, the controversies surrounding the film's inception and production, to say nothing of its actual release time had given the idea of Luc Besson the Euro-warrior several new twists. Besson's film as an epic has worked its ideological and pedagogical effect by bringing history to a new audience. This chapter discusses, sexual ambiguity comes into play and, with it, a visitation by Jeanne into the world of androgyny and camp, all of which make her even more ungraspable. It focuses on two aspects of camp in relation to the Jeanne d'Arc. First, Jeanne/Milla Jovovich's androgyny and second is the visible presence in the film of camp amongst the male characters, as exemplified both by Charles the Dauphin and his noble warrior soldiers.

Emilio Fernandez's golden age lasted for seven years, 1943-50. This chapter begins by looking at Fernández' role within the system, mapping how, in the critical analysis of his work, the construction of Fernández as auteur and 'indio' intersects with the processes of institutionalization involved in 'nation' and 'national culture.' It questions auteurist readings of Fernández which, by seeking to construct him as a flesh-and-blood individual who gives meaning and coherence to a unified oeuvre, fall into the trap of the 'cult of personality.' The chapter also looks at how the institutionalization is evident in the 1980s accounts of him written coincidentally at the same time as the biggest upsurge in the production of Mexican culture studies. It examines what is at stake when the proponents of Mexican national cinema promote Fernandez as auteur, particularly given the neo-colonialist implications of the use of the auteurist paradigm in Mexico.

This chapter charts the development of cinema exhibition in Britain, from the period of screening films in fairgrounds through to picture palaces. It first presents a discussion of the technological developments in the pre-cinema" days starting with the Thomas Edison's Kinetoscope followed by other inventors in Europe and the USA including Robert Paul and the Skladanowsky brothers. The chapter then discusses early sites of public exhibition of moving pictures

This chapter presents some closing thoughts on the concepts discussed in the book. After Río Escondido and Víctimas del pecado, Emilio Fernández goes from being the Mexican and Latin American cinema director of the 1940s, to nobody. Accounts of his career post the Golden Age paint him as a 'tragic' figure, making poorly received films and acting (in black charro costume) in others' films in order to survive when he could not find work as a director. The chapter discusses the Mexican film industry and Fernández's film career in the 1950s, 1960s, and 1970s. Fernández's decline and stagnation are blamed on the repetition and anachronism of the same images of nationalism that brought him great success during his most prestigious years. The book hopes to generate new analyses of other Fernandez's films that are critically neglected because they lie beyond the canon of cultural nationalism.

This chapter explores the use of musical material in Luc Besson's films and its impact on the viewer. It focuses on Besson the director rather than the producer, considering the eight films from Le Dernier combat to Jeanne d'Arc which feature an original score by Eric Serra. Before moving on to an extended discussion of the scoring of Leon, the chapter briefly explores what we could call Besson's 'musical continuum', as part of the way in which music in his films is there to be heard. It considers individual sequences to pinpoint the features of the Besson-Serra musical system: the music is multivalent and frequently is as determining as the image. The chapter shows how the various types of musical narration in the films of Besson from the point of view of the non-specialist audience.