derek jarman
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2021 ◽  
pp. 75-101
Author(s):  
Laura Stamm
Keyword(s):  
The Past ◽  

This chapter explores cinema as a place to learn about one’s origins and make sense of one’s position in the world; it opens up an existential problematic by reorienting queer understandings of kinship and genealogy. The past becomes a place for identification and the biopic its cinematic form. Queer filmmakers’ returns to the past are also conditioned by longings for community and lineage. Matthew Mishory’s Delphinium: A Childhood Portrait of Derek Jarman (2009) conditions this chapter’s re-reading of Derek Jarman’s films as taking part in a project of queer genealogy. Mishory, Jarman, and Ken Russell form a lineage of queer filmmakers who look to queers of the past to reimagine that past differently, to re-present it queerly.


Author(s):  
Laura Stamm

The Queer Biopic in the AIDS Era returns to the historical moment of the AIDS crisis and the emergence of New Queer Cinema to investigate the phenomena of queer biopic films produced during the late 1980s–early 1990s. More specifically, the book asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. While film critics and historian typically treat the biopic as a conservative, if not cliché, genre, queer filmmakers have frequently used the biopic to tell stories of queer lives. This project pays particular attention to the genre’s queer resonances, opening up the biopic’s historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity. Queer filmmakers’ engagement with the biopic evokes the genre’s history of building life through the portrayal of lives worthy of admiration and emulation, but it also points to another biopic history, that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open up the potential for new means of connection and relationality. The book features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, the book also calls for a reappraisal of New Queer Cinema’s legacy and its influence of contemporary queer film.


2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Daniel Pick ◽  
Mary-Clare Hallsworth ◽  
Sarah Marks

The Hidden Persuaders research group examines ‘brainwashing’ in the Cold War for the roles, real and imagined, played by psychologists, psychiatrists and psychoanalysts. Our project engaged young people in an exploration of the history of fears about brainwashing, and enabled them to explore their thoughts and ideas about the forces that shape their lives in contemporary society, through film-making. Working with three schools in the Camden area of London, our partners at the Derek Jarman Lab media hub, Birkbeck, University of London, and an artist facilitator (Lizzie Burns), we invited Year 12 students to learn filming and editing to create their own short video essays. The use of this format resulted in a significant depth of engagement and generated a wealth of creative responses. The various stages of the film-making process enabled the students to work out the terms of an argument and to consider how best to express it concisely. In the resulting films, they came up with a variety of forms of visual storytelling, and used the medium to express their thoughts, feelings and ideas in diverse ways, giving us a range of new perspectives which we could consider in relation to our historical research.


Author(s):  
María Valdez

El presente trabajo examina la vinculación entre mujer y política en el film argentino La cordillera (2017, Santiago Mitre). Se propone la definición de suprematismo trastornado para dar cuenta del trabajo de la puesta en escena del film, con el objeto de analizar la patologización de la mujer y su relación con la pauperización de la política. Por ende, se abreva en conceptos y/o postulaciones teórico-críticas específicas sobre el trauma, la melancolía y la depresión (Anne Dufourmantelle, Julia Kristeva, Georges DidiHuberman, por ejemplo) pero también sobre la teoría estética y del color (Ludwig Wittgenstein, Derek Jarman, Kazimir Malévich, entre otros) para dar cuenta de este proceso. Este estudio de caso se enmarca en un estudio mayor respecto de la trilogía fílmica de Santiago Mitre (El estudiante, La patota y La cordillera) como síntoma de la depreciación del sentido de la política en el cine argentino y su concomitante reflejo en la desvalorización, humillación y/o castigo de la mujer.


AusArt ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 235-244
Author(s):  
Ricardo Roncero Palomar
Keyword(s):  

El vídeo musical es un formato perfecto para transmitir visualmente aquellas ideas, conceptos o estéticas que acompañan al mensaje sonoro. Este artículo gira en torno al cortometraje Broken English: Three songs by Marianne Faithfull (1979), que el director británico Derek Jarman realizó para ilustrar tres canciones de la cantante. La pieza, anterior al nacimiento de la MTV, reúne tres maneras muy diferentes de enfocar un vídeo musical, como son el dominado por la presencia de la artista, el vinculado a prácticas artísticas y el vídeo protesta. Se analizará cuáles son las características visuales y qué lugar ocuparía dentro de la producción del artista británico.


2021 ◽  

'Queer Between the Covers' presents a history of radical queer publishing and literature from 1880 to the modern day. Chronicling the gay struggle for acceptance and liberation, this book demonstrates how the fight for representation was often waged secretly between the covers of books at a time when public spaces for queer identities were limited. The chapters provide an array of voices and histories— from the famous, Derek Jarman and Oscar Wilde, to the lesser-known and underappreciated John Wieners and Valerie Taylor. It includes first-hand accounts of seminal moments in queer history, including the birth of Hazard Press and the Defend Gay’s the Word Bookshop campaign in the 1980s. The book demonstrates how the queer community could be brought together through shared literature. The works discussed show the imaginative and radical ways in which queer texts have fought against censorship and repression and could be used as a tool for political organisation and production. From the powerful community-wide demonstrations for Gay’s the Word during their battle with the British government, the mapping of Chicago’s queer spaces within Valerie Taylor’s pulp novels, or the anonymous but likely shared authorship of the 19th-century queer text Teleny. Queer publishing often involved a range of creative tactics to beat the censor, from self-publishing to anonymous authorship. The book also shows how collage and the repurposing of found image and text became a key queer publishing practice, from Derek Jarman’s vast creative repertoire to book artwork created by the Hazard Press. A fascinating and poignant analysis of some key historic moments for queer lib in publishing and book history, this is an essential read for those interested in how LGBTQ people throughout modernity have used literature as an important forum for self-expression and self-actualisation when spaces and sites for queer expression were taboo.


2020 ◽  
Vol 14 (27) ◽  
pp. 336
Author(s):  
Thiago Henrique Ramari
Keyword(s):  

Este artigo analisa o longa-metragem experimental Blue (1993), do realizador britânico Derek Jarman (1942-1994), a partir do conceito de regime de imagéité, proposto por Rancière (2012). Metodologicamente baseado em análise fílmica e revisão bibliográfica, este estudo investiga a relação entre dois elementos fílmicos da obra de Jarman: a tela preenchida pela cor International Klein Blue (IKB) e a narração de frases autobiográficas que contêm o vocábulo blue, na formulação de imagens que abordem, de maneira antirreducionista, a vida de pessoas que vivem com HIV/Aids. Como resultado, observa-se que, quando a narração menciona o vocábulo blue, o espectador elabora, por meio de um gesto de interpretação, uma imagem mental que é imediatamente assumida pelo IKB onipresente na tela, favorecendo uma abordagem ampla sobre a vida com HIV/Aids e, consequentemente, lançando um olhar crítico à maneira como o cinema comercial costuma tratar o tema.


Arkadin ◽  
2019 ◽  
pp. e012
Author(s):  
Eva Beatriz Noriega
Keyword(s):  

Reseña a Derek Jarman (2017). Croma. Un libro de color. Ciudad Autónoma de Buenos Aires, Argentina: Caja Negra, 235 páginas. Croma. Un libro de color (2017) consiste en el último libro escrito por el cineasta de culto Derek Jarman, en los últimos meses de vida, víctima del SIDA. Una autobiografía de retazos que indaga en la combinación cromática de los colores, su historia cultural y su propia experiencia sensible del color.


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