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  1. 2 Kwartalnik Filmowy

Authors help

  1. 1 Chmielecki K.

  2. 1 Kosinska K.

Years help

  1. 1 2009

  2. 1 2006

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1

'PAINTING WITH LIGHT' IN FILMS BY DEREK JARMAN (Obrazy swiatlem malowane w filmach Dereka Jarmana)

100%
Chmielecki K.
Kwartalnik Filmowy
|
2009
|
issue 65
82-95
EN
The author presents an analysis of aesthetics of light in films by Derek Jarman. He identifies three types of aesthetics of light: aesthetics of 'natural' light, 'artificial' and 'inner', which correspond to the style present in the Baroque paintings. 'Painting with light' can be contrasted with 'writing with light', in which the flow of the film is constructed with the help of the symbolic meaning associated with different type of light - with its character and intensity. 'Natural light' is presented through the analysis of the film 'Caravaggio'. This aesthetics based on yellow-orange light being pointed at a specific person is also to be found in the Venetian school of art. 'Artificial light' is presented as the light of a candle - referring to the paintings by de la Tour. This aesthetics was applied in 'The Tempest' and 'The War Requiem'. The presentation of the development of the aesthetics of light is culminated by the analysis of 'inner light' present in the work of Rembrandt, and which was applied in 'Edward II' and 'Wittgenstein'.
2

Whose Britain is this? Lindsay Anderson and Derek Jarman or the Marriage of the Rebellion and the Conservatism

51%
Kosinska K.
Kwartalnik Filmowy
|
2006
|
issue 53
27-50
EN
Britishness in the culture of Great Britain is an ambivalent concept. On the one hand, it is associated with the Victorian or imperial ideal of a great aristocratic and triumphant Britain, and on the other hand it may be connected with defiance, which is of key importance in the British tradition of the culture. The authoress, who focuses on Lindsay Anderson's film 'If...' and Derek Jarman's 'The Last of England', examines the attitude of the directors (national identity has always been a central theme of their filmmaking) towards Britishness. She argues that although the two bitterly criticize Britain, they are at the same time patriots and traditionalists longing for paradise lost, a British Arcadia. Thus, they do not criticize Britain or its tradition but what has been done with her. Their version of Britishness is opposed to the official myth - their Britain is open to all her citizens, and free from imperial ambitions and consumer temptations.
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