The suspended spectacle of history: The tableau vivant in Derek Jarman's Caravaggio

Screen

Volumn 44, Issue 4, 2003, Pages 379-403

  Tweedie, James ^a  

^a NONE

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[No Author keywords available]

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EID: 63849224624     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Review

References (61)

1. James Gardner, 'Is Caravaggio our contemporary?'. Commentary, June 1985, pp. 55-61
2. Frank Stella, 'Caravaggio', The New York Times Magazine, 3 February 1985, p. 1
3. Sanford Schwartz, 'Not happy to be here', The New Yorker, 2 September 1985. p. 75
4. Gardner, 'Is Caravaggio our contemporary?', p. 55
5. For an iconographie approach to the artist's biography, see Adrienne Von Lates, 'Caravaggio's peaches and academic puns'. Word and Image, vol. 11, no. 1 (1995), pp. 55-60
6. For an overview of the debates about the artist's sexuality and an attempt to rebut Hibbard's argument, see Creighton E. Gilbert, Caravaggio and His Two Cardinals (University Park, PA: Pennsylvania State University Press, 1995) pp. 191-238
7. James M. Saslow, Pictures and Passions: a History of Homosexuality in the Visual Arts (New York. NY: Viking, 1999). pp. 116-7
8. Leo Bersani and Ulysse Dutoit, Caravaggio's Secrets (Cambridge, MA: MIT Press, 1998), p. 13
9. Derek Jarman, Derek Jarman's Caravaggio: the Complete Film Script and Commentaries (London: Thames and Hudson, 1985), p. 75
10. In 1937 the Local Government Bill passed by Parliament included a provision, known as Clause 28, prohibiting the 'promotion of homosexuality' and forbidding schools from teaching 'the acceptability of homosexuality as a pretended family relationship'. For a discussion of the relationship between Jarman's cinema and queer politics in the 1980s, see Chris Lippard and Guy Johnson, 'Private practice, public health: the politics of sickness and the films of Derek Jarman', in Lester Friedman (ed.]. Fires Were Started: British Cinema and Thatcherism (London: UCL Press, 1993), p. 292
11. Walter Benjamin, Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York, NY: Schocken Books, 1968), p. 221
12. Joan Copjec, Read My Desire: Lacan Against the Historicists (Cambridge, MA: MIT Press, 1994)
13. Howard Hibbard, Caravaggio (New York, NY: Harper and Row, 1983), p. 206
14. Michael Fried, Thoughts on Caravaggio', Critical Inquiry, vol. 24, no. 1 (1997), pp. 18-19
15. Michel de Certeau, The Mystic Fable: Volume One, The Sixteenth and Seventeenth Centuries, trans. Michael B. Smith (Chicago, IL: University of Chicago Press, 1332). p. 276
16. Fried, 'Thoughts on Caravaggio', p. 21
17. Michel Foucault, 'Nietzsche, genealogy, history', trans. Donald F. Bouchard and Sherry Simon, in Paul Rabinow (ed.). The Foucault Reader (New York, NY: Pantheon Books, 1984), p. 86
18. Derek Jarman, Dancing Ledge, ed. Shaun Allen (London: Quartet Books, 1991), p. 14
19. Quoted in Eduardo Cadava, Words of Light: Theses on the Photography of History (Princeton, NJ: Princeton University Press, 1997), pp. 86-7
20. Frank Stella, Working Space: the Charles Eliot Norton Lectures, 1983-4 (Cambridge, MA: Harvard University Press, 1986)
21. Caravaggio's mode of painting would then have resembled that of the fictional artist Tonnere in Pierre Klossowski's The Revocation of the Edict of Nantes. See Roberte ce soir and The Revocation of the Edict of Nantes, trans. Austryn Wainhouse (New York, NY: Grove Press, 1969), p. 99
22. André Bazin. What is Cinema?. ed. and trans. Hugh Gray (Berkeley, CA: University of California Press. 1967). p. 97
23. Stella, Working Space, pp. 4, 12
24. Jarman's comments on the film cite Friedlaender's book as an important source in his research into the life and work of Caravaggio. See Walter Friedlaender, Caravaggio Studies (Princeton, NJ: Princeton University Press, 1955)
25. Volker Schachenmayr, 'Emma Lyon, the attitude, and Goethean performance theory'. New Theatre Quarterly, vol. 13, no. 1 (1997), p. 6
26. Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: Verso, 1998), p. 195
27. Jean-François Lyotard, 'Acinema', trans. Paisley N. Livingston, in Philip Rosen (ed). Narrative, Apparatus, Ideology: a Film Theory Reader (New York, NY: Columbia University Press. 1986), p. 351
28. Geoffrey Hartman, The voice of the shuttle: literature from the point of view of language'. The Fate of Reading and Other Essays (Chicago, IL: University of Chicago Press, 1975), p. 352
29. Quoted in W.J.T. Mitchell, 'Spatial form in literature: toward a general theory', in Mitchell (ed), The Language of Images (Chicago, IL: University of Chicago Press, 1980), p. 275
30. Foucault, 'Nietzsche, genealogy, history', p. 89
31. Bersani and Dutoit, Caravaggio's Secrets, p. 40
32. Benjamin, Illuminations, p. 256
33. René Girard, Deceit, Desire, and the Novel: Self and Other in Literary Structure (Baltimore, MD: Johns Hopkins University Press, 1976). Timothy Murray notes the relationship between the love triangle represented in Caravaggio and the paradigm set forth in Girard's study. He also compares Girard's model with that proposed by Luce Irigaray, who suggests that woman becomes the abject element in these diagrams of triangular desire because she serves as a token and provocation of male desire while being denied desire herself
34. See Murray. Like a Film: Ideological Fantasy on Screen, Camera, and Canvas (New York: Routledge, 1993), p. 134
35. Girard, Deceit, Desire, and the Novel, p. 4 (emphasis in original)
36. Murray's essay on the film outlines the possible ramifications of these violent actions. See Murray, Like a Film, pp. 134-42
37. Lynn Tillman, 'Love story', Art in America, vol. 75. no. 1 (1987), p. 23
38. Jarman's screenplay details the production problems associated with this scene, as no casting agencies would allow child actors to play the part of Cupid in a tableau vivant based on Caravaggio's painting. Ultimately, a fully-clothed Dawn Archibald assumed the role of Cupid, emphasizing the disparity rather than identity between model and finished painting. See Jarman, Derek Jarman's Caravaggio, p. 75
39. Marc Vernet. 'Irrepressible gaze', Iris, nos 14-15 (1992), p. 10
40. Dominique Païni. 'A detour for the gaze'. Iris, nos 14-15 (1992), p. 5
41. Roland Barthes, Camera Lucida, trans. Richard Howard (New York, NY: Hill and Wang, 1981). p. 3
42. Jacques Derrida, Specters of Marx: the State of the Debt the Work of Mourning, and the New International, trans. Peggy Kamuf (London: Routledge, 1994). p. 7
43. See Martin Bauml Duberman, Martha Vicinus and George Chauncey, Jr (eds). Hidden from History Reclaiming the Gay and Lesbian Past (New York, NY: NAL Books, 1989)
44. Hibbard, Caravaggio, p. 155
45. Antonio Negri, 'Notes on the evolution of the thought of the later Althusser', in Antonio Callari and David F. Ruccio (eds), Postmodern Materialism and the Future of Marxist Theory: Essays in the Althusserian Tradition (Hanover, NH: Wesleyan University Press, 1996). p. 54
46. Jean-Luc Nancy, The Sense of the World, trans. Jeffrey Librett (Minneapolis, MN: University of Minnesota Press, 1997), p. 142
47. See Andrew Higson, 'Representing the national past nostalgia and pastiche in the heritage film', in Friedman (ed.], Fires Were Started
48. See, for example, Von Lates, 'Caravaggio's peaches and academic puns'
49. Angelo Quattrocchi and Tom Nairn, The Beginning of the End, France, May 1968: What Happened, Why It Happened (London: Panther, 1958), p. 39
50. Benjamin, The Origins of German Tragic Drama, p. 232
51. Stella, 'Caravaggio', p. 39
52. W.J.T. Mitchell, Picture Theory (Chicago, IL: University of Chicago Press, 1994), pp. 71-82
53. Gilles Deleuze, Difference and Repetition, trans. Paul Patton (New York, NY: Columbia University Press, 1994), pp. 86-91
54. Derek Jarman, The Last of England, ed. David L. Hirst (London: Constable, 1987)
55. Pierre Nora, 'Introduction', Realms of Memory: the Construction of the French Past, Volume II, trans. Arthur Goldhammer (New York, NY: Columbia University Press, 1997), p. ix
56. Quoted in David Farrell Krell, Postponements: Women, Sensuality and Death in Nietzsche (Bloomington, IN: Indiana University Press, 1986), p. 69
57. Percy Bysshe Shelley, 'On the Medusa of Leonardo da Vinci'. A hypertext edition of this poem edited by Neil Fraistat and Melissa Jo Sites can be found at URL: http://www.rc.umd.edu/editions/shelley/medusa/medcover.html [4 August 2003]
58. See Hélène Cixous, La Bisa de la Medusa (Barcelona: Direccion General de La Mujer, 2001)
59. Daryl Hine, Minutes (New York, NY: Atheneum, 1968), p. 45
60. Jermone J. McGann, 'The beauty of the Medusa: a study in romantic literary iconology', Studies in Romanticism, vol. 11, no. 1 (1972), p. 24
61. Quoted in T.J. Clark, 'Origins of the present crisis'. New Left Review, no. 2 (March-April 2000), p. 91