“In documentary we deal with the actual, and in one sense with the real. But the really real, if I may use that phrase, is something deeper than that. The only reality which counts in the end is the interpretation which is profound.” – John Grierson. With Sight & Sound’s recent poll for best documentaries (September 2014), I wanted to explore some of the British … Continue reading Great British Documentaries
Part 1. Part 2. Part 3. Part 4. Home Viewing of Blue and New Reception Possibilities. “Say you were struck down tomorrow, what would your monument be?” – Dr Mathew Herbert. “Oh nothing, because film disappears, thank God.” – Derek Jarman (1993, p.117) There is an unstated irony within this essay in the fact that this writer has never been able to experience Blue in … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 5 (Home Viewings and Conclusions)
Part 1 Part 2 Part 3 The Reception of Blue in New Technological Forms and Contexts. “The degree to which the spectator identifies with the diegesis as his/her own hallucination fluctuates from spectator to spectator, from narrative moment to moment, from genre to genre.” (Gorbman, 1987, p.45). It is very hard to experience Blue today in the intended format that Jarman produced it in. This … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 4 (New Technological Contexts).
Part 1 Part 2 Blue’s cinematic screening – Readings, Reception and Contradictions. “Whilst homosexuals die, many heterosexuals reach for the remote control and simply turn up the volume. Does it come in stereo?” (Jarman, 1993, p.138) The screening of Blue in cinemas during its 1993 release date is its most typical form though screenings were rare and often film festival based rather than through a … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).
Part 1 The Reception of Blue in its Original Forms. Blue in Written Form and Early Performances. “The difference between formalist and realist philosophies is not in the possibility of affecting the spectator but in what the cinema ought to do, its prescriptive work. Cinema either organizes the world or duplicates the experience of perceiving of it for the spectator.” (Staiger, 1992, p.51) Though Blue … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 2 (Early Forms of Blue)
When is a Film Not a Film? The Problematic Reception of Sound And Vision in Derek Jarman’s Blue. Introduction “I don’t think of myself as avant-garde. I think avant-garde died in the last revolution before the war.” – Derek Jarman (1994) For a director whose visual flair and heightened sense of style became a sickly, heady trademark of his work, Derek Jarman knew perfectly well … Continue reading The Problematic Reception of Sound And Vision in Derek Jarman’s Blue – Part 1 (Introduction).