Convent Images

[Geri Cutcher]

Thefilm belongs to the 'nunsploitation' subgenre. It contains strong scenes of graphic violence relating to demonic possession and is among few films containing original hardcore pornography that already passed Italian censorship in 1979 and were projected in some Italian cinemas.[1][2] It includes explicit lesbianic depictions of digital penetration and cunnilingus.[citation needed]

One day, an injured man appears at the convent and the sisters take him in. One by one, the nuns become attracted to the man and take turns visiting his room at night. Unbeknownst to them, Satan has also entered the convent and is turning the nuns into horny sinners.

The film's working title was La casa del dio sconosciuto (literal translation: "The house of the unknown god"). [1]The initial cast as officially deposited was Gloria Guida as Isabella and Gabriele Tinti as Guido Bencio, Paola Arduini as Sister Lucrezia and Anna Maria Romoli as Sister Marta.[1]

On the pages preceding the copy of the script deposited at the Ministerio Dello Spettacolo on February 24, 1979, it says that the film is "very loosely inspired by Prosper Mrime's La Vnus d'Ille before quoting Blaise Pascal's saying, "The last function of reason is to recognize that there are an infinity of things which surpass it".[1]

The main cinematic influence was Walerian Borowczyk's Interno di un convento (1977; literally: Interior of a Convent; English title: Behind Convent Walls), which claimed to be influenced by Stendhal's Promenades romaines just as Immagini di un convento claims to be inspired by La Religieuse by Denis Diderot.[1][3] However, the only parallels between the film and Diderot's novel are the general immorality of the clergy, the arrival of an aristocratic novice without vocation at a convent, and the wounded officer.[3]

In Italy, the film was released on VHS in its soft version by Avo, Vega Video, and New Video, and in a hard version by Shendene & Moizzi, which however lacks the introductory part with Paola Senatore and Brunello Chiodetti. [3]

In the Netherlands, the Italian version was published under the title Intieme Kloosterbeelden by VFP (Video for Pleasure).[3] In Greece, the hard version was published on VHS in Italian with Greek subtitles with a few cuts, among them the sequence with Senatore and Chiodetti.[3]

In the United States, the film was released on June 14, 2005, as Images in a Convent on DVD by Media Blasters in its hard version from which three minutes of Marina Ambrosini's scene of diabolical possession were cut.[3] It contains the film only in its Italian dub with non-removable yellow English subtitles.[4]

When he first saw the film at the red light cinema "Il Filodrammatico" in Trieste, film critic Marco Giusti remembers being impressed, also because he did not expect real penetrations; "after all, it was about nuns...".[6]

This dissertation is a contextual study and catalog of a Mexican genre of devotional art known as escudos de monjas (the shields of nuns). These small-scale painting and embroideries were worn by Conceptionist, Jeronymite, and some Augustinian and Dominican nuns in colonial Mexico. The escudo de Monja developed out of European roots into a new and distinctive genre of art and cult object found only in Mexico. The religious reforms of the seventeenth century, specifically the restrictions of dress imposed on the convents by the (Spanish) bishops of Mexico, were the impetus for the creation of the new genre.

The dissertation considers the escudo de monja as both a religious object, related to the ritual practices of the convents, and as a fine-art object. Both aspects of the escudo de monja worked to produce cultural identity for the creole elite through the institutions of the convents. The program of iconography seen on the escudo and the practice of its use identified the nuns as the embodiments of a Mexican spiritual culture that claimed to be supernatural in its intensity and apocalyptic in its meaning. In the eighteenth century the convents became engaged in an active resistance to the reforms imposed of the bishops; the escudos de monjas also appear to have carried symbolic meaning for the creole elite in the context of that struggle with Spanish authority.

On April 23, we would love to showcase some photos from your Sacred Heart days in a slideshow. Feel free to upload as many images as you like and please use the hashtag #sh91reunionthrowback when posting future photos to Instagram or facebook!

The Convent of La Tourette is Le Corbusier's final building completed in Europe, and is also thought by many to be his most unique program. It was built to be a self-contained world for a community of silent monks, and to accommodate the unique and specific lifestyle of the monks, the monastery is made of one hundred individual cells, a communal library, a refectory, a rooftop cloister, a church, and classrooms.

The more obvious of these in this specific project are the pilotis, or load-bearing columns, which line the inside walls and open the facade to long strip windows. The classic grass rooftops create an architectural promenade, relating back to the Villa Savoye, although the context of the convent is very different than of the residence.

The site was specifically chosen by Corbusier, as he was drawn to the steeply sloping bank with powerful views. Every one of the hundred cells features an outward-facing balcony, with communal areas underneath and the cloister running around the roof. The structural form of the building is reinforced concrete, with undulating glass surfaces located on three of the four exterior faces.

The intention of architect Le Corbusier was "to give the monks what men today need most: silence and peace... This Monastery does not show off; it is on the inside that it lives." Although this was ultimately achieved, there were still reservations about the size of some of the cells, as well as the soundproofing and acoustics. Maintenance issues are still very prevalent today, with cracking concrete, defective insulation, and dangerously installed electricity.

Much of the personality of this building is found in the interior, with the floor-to-ceiling glazing in the public areas, like the chapter room and refectory with their commanding west-facing views over the valley, library, and church entrance.

The uneven spacing of the vertical concrete mullions, or ondulatoires, and the similar divisions and uneven spacing of the horizontal components between them were fashioned according to the Modular system of proportions of Le Corbusier.

One of the best moments of the architectural promenade is the ramp down to the church entrance: an austere, concrete corridor with uneven yet rhythmic glazing, which leads to a stern metal wall that rotates to give access to the dark, colored glow to the rest of the church.

The interior of the church reveals a concrete box which is given a spiritual essence through its use of natural light and strong color, both selectively and carefully placed. "Light cannons" are created as the five different types of openings around the church let in daylight, several of which are graciously sculpted on the exterior. The colors are also present in these openings, which give the church a warm and evokative glow.

As of now, the monument has housed people for around forty years, welcoming visitors, architects, architecture lovers and students from all over the world. Today it functions as a meeting place for different disciplines connected to the human sciences and philosophy.

The Commission on Chicago Landmarks has approved the demolition of Cenacle Convent at 513 W Fullerton Avenue in Lincoln Park. Located on an irregular parcel, the site is set back onto the interior of a block, fronting W Fullerton Avenue, N Cleveland Avenue, and N Cambridge Avenue. The property is located inside the Mid-North Historic District.

When reviewing the request for demolition of a structure in a historic district, the structure must be reviewed under six criteria to determine whether the building is contributing to the district or not. The Cenacle Convent is a religious complex that ranges in height from one to seven stories.

The convent structure is a religious retreat center that rises between one and seven floors, built in 1967. Outside the historic time period of development, the exterior is clad in brick. Parking is located along W Fullerton Avenue, with an ornamental lawn along N Cleveland Avenue. It was originally designed by Charles Pope.

The second criterion is to determine whether the subject property exhibits the general historic and architectural characteristics associated with the district. The landmark area is home to Italianate, Queen Anne, and Romanesque Revival style structures, which are generally single-family homes or two to five apartment buildings. Facades feature cornices, double-hung windows, ornamental metalwork, stone accents, and raised front stoops.

The convent complex incorporates red brick with long narrow vertical piers and metal spandrels. According to the Historic Preservation Division staff, the edifice does not lack architectural character, but represents a later era and does not convey the historic character of the district.

A third factor in determining whether the property respects the general site characteristics. The complex has an irregular footprint and is set back from the adjacent street. Six- and seven-story structures hold sleeping and conference quarters with a one-story lobby, conference, and chapel space. All are connected by a basement with support, dining, and kitchen spaces. Most buildings in the district are on a typical residential lot with front and rear yards, often built lot line to lot line. It also includes courtyard residential buildings with light courts and interior courtyards. The convent is significantly different in setbacks, height, and massing.

The final criteria include whether the property exhibits the general size, shape, and scale associated with the district, whether the materials are compatible in character, color, and texture, and if the site has been altered, are the changes easily reversed or removed. The complex is substantially different in size and scale, rising seven floors and the brick cladding is compatible however it is used as decorative veneer rather than as load-bearing supports. Vertical bands of windows with metal spandrels are also not characteristic of the surrounding context.

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