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Derek Jarman was the most important independent filmmaker in England during the 1980s. Using emblems and symbols in associative contexts, rather than conventional, cause-and-effect narrative, he created films noteworthy for their lyricism and poetic feeling and for their exploration of the gay experience. His style of filmmaking also links Jarman with other prominent directors of lyric film, including Pier Paolo Pasolini, Andrei Tarkovsky, Jean Cocteau, and Jean Genet. This pathfinding book places Derek Jarman in the tradition of lyric film and offers incisive readings of all eleven of his feature-length films, from Sebastiane to Blue. Steven Dillon looks at Jarman and other directors working in a similar vein to establish how lyric films are composed through the use of visual imagery and actual poetry. He then traces Jarman's use of imagery (notably mirrors and the sea) in his films and discusses in detail the relationship between cinematic representations and sexual identity. This insightful reading of Jarman's work helps us better understand how films such as The Last of England and The Garden can be said to cohere and mean without being reduced to clear messages. Above all, Dillon's book reveals how truly beautiful and brilliant Jarman's movies are.
Luminous presence: Derek Jarman's life-writing is the first book to analyse the prolific writing of queer icon Derek Jarman. Although he is well known for his avant-garde filmmaking, his garden, and his AIDS activism, he is also the author of over a dozen books, many of which are autobiographical. Much of Jarman's exploration of post-war queer identity and imaginative response to HIV/AIDS can be found in his books, such as the lyrical AIDS diaries Modern Nature and Smiling in Slow Motion. This book fully explores, for the first time, the remarkable range and depth of Jarman’s writing. Spanning his career, Alexandra Parsons argues that Jarman’s self-reflexive response to the HIV/AIDS crisis was critical in changing the cultural terms of queer representation from the 1980s onwards. Luminous presence is of great interest to students, scholars and readers of queer histories in literature, art and film.
This Handbook offers an authoritative and up-to-date collection of original essays bringing together ground breaking research into the development of contemporary poetry in Britain and Ireland.
After having to hand back his Pulitzer Prize due to a massive cover-up scandal, Ron Wright's reputation as a journalist crashed and burned, taking his marriage with it. After receiving a cryptic message from an old friend, Ron takes the first train from Washington D.C. to New York City--and quickly finds himself in a deadly chase after a friend and long-trusted news source ends up dead.
Derek Jarman's place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman's artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman's paintings, especially his landscapes from the 1960s and 70s, his multiple series such as 'black' and 'broken glass', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman's excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman's cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative. Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman's varied works, Derek Jarman's Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.
REDFISH."Ina still and shallow surf he fishes sandbar white and shell pink redfish in much the same manner he would fish bonefish in other waters." STRIPED BASS."he is telling about the rumor of a spotter plane out of the Chesapeake reporting a thirty-seven mile long school of large striped bass coming down along the coast of Virginia." BLUEFISH."the boys are running along a summer afternoon's surf chasing flighty schools of small blues scattering bait beneath the terns." BONEFISH."they mount the edge of the sill in cautious sallies, keeping their shadows close beneath them; briefly on, quickly off." POMPANO."there were shoals of pompano turning in the evening surf like polychromatic discs returning the last violet rays of the sinking sun." TUNA."and he told of his years with the charter boat fleet hunting the giant tuna, the giant tuna that were no more." GROUPER."they fished tarred hand lines without leaders and sunk with sash weights the hooks baited with orange chunks of conch."