Painting With Light in Films by Derek Jarman
Konrad Chmielecki
kwartalnik.filmowy@ispan.plUniversity of Humanities and Economics in Lodz (Poland)
Abstract
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.
Keywords:
Derek Jarman, light, baroqueReferences
Alton John, Painting with Light, University of California Press, Berkley – Los Angeles – London 1995, s. 44-56.
Google Scholar
Anfam David A. i inni, Techniki wielkich mistrzów malarstwa, tłum. D. Stefańska-Szewczuk, M. Dolińska, B. Mierzejwska, , Wydawnictwo „Arkady”, Warszawa, s. 44.
Google Scholar
Bachelard Gaston, Płomień świecy, tłum. J. Rogoziński, słowo/obraz terytoria, Gdańsk 1996, s. 42.
Google Scholar
Field David M., Rembrandt, tłum. D. Stefańska-Szewczuk, Wydawnictwo „Arkady”, Warszawa 2006, s. 190.
Google Scholar
Friedlaender Walter, Caravaggio Studies, Princenton University Press, Princeson – New Jersey 1974, s. 35-36.
Google Scholar
Gage John, Kolor i kultura. Teoria i znaczenie koloru od antyku do abstrakcji, tłum. J. Holzman, Towarzystwo Autorów i Wydawców Prac Naukowych „Universitas”, Kraków 2008, s. 139, 156.
Google Scholar
Gomez Joseph A., The process of Jarman’s „War Requiem”: personal vision and the tradition of fusion of the arts, w: By angels driven. The films of Derek Jarman, red. C. Leppard, Flicks Books, Trowbridge 1996, s. 84-102.
Google Scholar
Itten Johannes, The Art of Color. The subjective experience and objective rationale of color, tłum. E. van Haagen, A VNR Book. John Wiley & Sons Inc., New York – Chichester – Weinheim – Brisbane – Singapore – Toronto 2002, s. 98.
Google Scholar
Kitson Michael, The Complete Paintings of Caravaggio, Harry N. Abrams, New York 1967, s. 5-6.
Google Scholar
Langdon Helen, Caravaggio, tłum. S. Kroszczyński, Dom Wydawniczy „Rebis”, Poznań 2003, s. 120, 187.
Google Scholar
Malraux André, Przemiana bogów. Nadprzyrodzone, tłum. E. Bąkowska, Krajowa Agencja Wydawnicza, Warszawa 1985, s. 273.
Google Scholar
Ostrowski Jan K., Caravaggio i caravaggionizm, w: Sztuka świata, t. 7, red. A. Lewicka-Morawska, Wydawnictwo „Arkady”, Warszawa 1994, s. 63-64, 69.
Google Scholar
Pencak William, The Films of Derek Jarman, McFarland & Company Publishers, Jefferson – London 2002, s. 72-73, 77.
Google Scholar
Place Janey A., Lowell S. Peterson, Some Visual Motifs of „Film Noir”, w: Movies and Methods: An Anthology – t. 1, red. B. Nichols, University of California Press, Berkey 1976, s. 325-338.
Google Scholar
Popczyk Maria, Światło i obrazy, w: Estetyka czterech żywiołów: ziemia, woda, ogień, powietrze, red. K. Wilkoszewska, Towarzystwo Autorów i Wydawców Prac Naukowych „Universitas”, Kraków 2002, s. 183.
Google Scholar
Porton Richard, Language games and aesthetics attitudes: style and ideology in Jarman late films, w: By angels driven. The films of Derek Jarman, red. C. Leppard, Flicks Books, Trowbridge 1996, s. 139.
Google Scholar
Radkiewicz Małgorzata, Derek Jarman: portret indywidualisty, Wydawnictwo „Rabid”, Kraków 2003, s. 45.
Google Scholar
Stararo Vittorio, Scrivere con la Luce/Writing with Light, Parte prima: La Lune/Part one: The Light APERTURE/Accademia dell’Immagine, New York 2003, s. 52, 82.
Google Scholar
Wiącek Elżbieta, Autoportret z cieniem, „Kwartalnik filmowy” 2001, nr 33, s. 28.
Google Scholar
Wittgenstein Ludwig, Uwagi o kolorach, tłum. R. Reszke, Wydawnictwo „Spacja”, Warszawa 1998.
Google Scholar
Wollen Roger, Introduction. Facets of Derek Jarman, w: Derek Jarman: A Portrait, red. R. Wollen, Thames and Hudson Ltd., London 1996, s. 15, 21-23.
Google Scholar
Authors
Konrad Chmieleckikwartalnik.filmowy@ispan.pl
University of Humanities and Economics in Lodz Poland
Adiunkt w Akademii Humanistyczno-Ekonomicznej w Łodzi i PWSZ w Głogowie. Autor książki Estetyka intermedialności (2008). Pracuje nad zagadnieniami dotyczącymi estetyki obrazu filmowego i kultury wizualnej.
Statistics
Abstract views: 35PDF downloads: 11
License
Copyright (c) 2009 Konrad Chmielecki
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
