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Derek Jarman

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Journal Article
GLQ (2001) 7 (2): 265–284.
Published: 01 April 2001
...Jim Ellis Duke University Press 2001 GLQ 7.2-03 Ellis 4/20/01 6:01 PM Page 265 CONJURING THE TEMPEST Derek Jarman and the Spectacle of Redemption Jim Ellis In Dancing Ledge Derek Jarman explains his motivations for filming Shake...
Published: 01 January 2024
Figure 2. “A Blueprint for Bliss: Notes for the Script 1989,” Derek Jarman, TGA 20157/1/2, Tate Britain. © Photo © Tate. Courtesy Keith Collins Will Trust. More
Journal Article
GLQ (2024) 30 (1): 1–29.
Published: 01 January 2024
...Figure 2. “A Blueprint for Bliss: Notes for the Script 1989,” Derek Jarman, TGA 20157/1/2, Tate Britain. © Photo © Tate. Courtesy Keith Collins Will Trust. ...
Journal Article
GLQ (2001) 7 (2): 369–370.
Published: 01 April 2001
.... Jim Ellis is an assistant professor of English at the University of Calgary, where he also teaches in the film program. He has published a number of essays on early modern literature as well as two essays on the films of Derek Jarman, in Out Takes: Essays on Queer...
Journal Article
GLQ (2000) 6 (4): 631–639.
Published: 01 October 2000
... for the London Film-Maker’s Cooperative in the late 1970s, and with such queer filmmakers as Cerith Wyn Evans and Derek Jarman (whom he assisted on the set design of Jubilee and for whom he served as an editor on several other works, including...
Journal Article
GLQ (2024) 30 (1): 153–156.
Published: 01 January 2024
... for Syria in Medieval England , is forthcoming. Their work on Derek Jarman's medievalism was completed as an ISSF Research project at Birkbeck College (ISSF/Wellcome Trust). In addition to their written output, Myerson collaborated on an essay-film response, “submerged reliquary of a Kentish saint...
Journal Article
GLQ (1993) 1 (1): 83–91.
Published: 01 November 1993
... independent film had arrived. There began a momentum that would crest the following year, back in Park City’s Sundance Film Festival again, with a prize to Tom Kalin’s Swoon and special screenings of Derek Jarman’s Edward ZZ, Isaac Julien’s Young Soul Rebels, Christopher Munch’s The Hours and Times...
Journal Article
GLQ (2013) 19 (2): 249–259.
Published: 01 April 2013
..., and Derek Jarman) that accom- plish the act of bearing witness “by reframing the intersubjective space between the speaking subject and the listening viewer through a range of formal strategies that include self-­reflexive performance, hand-­held cinematography, doubled auto...
Journal Article
GLQ (2004) 10 (3): 453–483.
Published: 01 June 2004
..., whatever it is that sexuality is not. While early modern languages seem to offer no counterpart to the term sexuality, when it comes to Renaissance friend- ship it seems fair to borrow Derek Jarman’s words and name it a form of “love that can’t keep its big mouth shut.”3...
Journal Article
GLQ (2005) 11 (3): 437–455.
Published: 01 June 2005
... be intelligible to a foreign audience. DG: Proteus received many good reviews, but Dave Kehr in the New York Times called it “a heavy, pretentious and derivative fi lm, deep in debt to such masters of the New Queer Cinema as Todd Haynes (Poison) and Derek Jarman (Caravag- gio Stephen Rebello in the gay...
Journal Article
GLQ (2008) 14 (1): 99–119.
Published: 01 January 2008
... was first used by B. Ruby Rich in the Septem- ber 1992 volume of Sight and Sound to describe an explosion of independent work by British and American filmmakers of the 1990s such as Tom Kalin, Gregg Araki, Derek Jarman, and Laurie Lynd. These works, characterized...
Journal Article
GLQ (2003) 9 (4): 499–555.
Published: 01 October 2003
.... Consider the function of eros in the work of artists such as William S. Burroughs, Robert Glück, David Wojnarowicz, Jerome Caja, Pansy Division, Dennis Cooper, Kevin Killian, Bret Reichman, Wayne Smith, Samuel R. Delany, Jack Smith, and Derek Jarman, to name only a few.62...