Page - 12 - in JRFM - Journal Religion Film Media, Volume 05/02

leave other responsibilities behind, to help restore the Empire to its former glo- ry. The fading colors on the building have a romantic touch, bearing witness to a former glory that just waits rediscovery and resurrection. The cover image shows a storage site for skips (fig. 5). The yellowish colour of the skips, the number of skips stored there, the debris they stand for, and the impending storms the clouds herald, made me wonder about the city – or civi- lization – the skip storage site could possibly bear witness to. The emptiness of the skips could be traces of a society that has given up or ceased to exist. They can also stand for a society that is ready to leave behind the storms of difficult times. In a way the skips sit in a liminal state, much like the entire country: in between remainers and brexiteers in a tug of war, neither here nor there, no movement on either side, with all outcomes equally possible. Uncertainty. The image of the excavators set in front of an industrial building I came across has a more hopeful feel to it (see fig. 6) – but again is linked to Brexit fantasies. Britain, once at the forefront of industrialization, hopes to revive its historic glory and – by leaving the shackles of the European Union behind – enter a new age of economic prosperity. At least, these are the narratives and the mental imagery created and disseminated by Brexiteers. At the point of writing this editorial, it is unclear whether Brexit will happen at all or what variant of it will be pursued. Immersing oneself in towns, their aes- thetics, their history, and linking them with the narratives of Brexit, how ever, Fig. 6: Excavators, Headland Plant, Wincolmlee, Hull. Photo: Alexander D. Ornella. 12 | Alexander Darius Ornella www.jrfm.eu 2019, 5/2, 7–14