Abstract
I waited a lifetime to build my garden. I built my garden with the colours of healing.1
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Notes
See Derek Jarman, ‘Chroma: A Book of Colour June’93 ( London and New York: Random House, 1995 ), p. 68.
See Trond Lundemo, ‘The Colours of Haptic Space: Black, Blue, White in Moving Images’, A Dalle Vache and B. Price (eds) Color: The Film Reader (New York: Routledge, 2006).
See Marina Warner, Fear of a Queer Planet: Queer Politics and Social Theory (Minneapolis: University of Minnesota Press, 1993), pp. xxvi.
See Luce Irigaray, ‘The Age of the Breath’ in Luce Irigaray: Key Writings ( London and New York: Continuum, 2004 ), p. 150.
See Catherine Vasseleu, Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau-Ponty ( New York & London: Routledge, 1998 ), p. 114.
See Derek Jarman, Smiling in Slow Motion ( Minnesota: University of Minnesota Press, 2011 ).
See Sobchack, ‘Fleshing out the Image: Phenomenology, Pedagogy and Derek Jarman’s Blue’, Cinema: Journal of Philosophy and the Moving Image, 3 (2012), pp. 19–38.
See Jacques Khalip, ‘The Archaeology of Sound: Derek Jarman’s Blue and Queer Audiovisuality in the Time of AIDS’, Differences, 21 (2) (2010), pp. 73–78.
See Michel Chion, Audio-Vision: Sound on Screen, Eng. trans. by Claudia Gorbman ( New York: Columbia University Press, 1994 ).
See Steven Dillon, Derek Jarman and the Lyric Film: The Mirror and the Sea ( Austin: University of Texas Press, 2004 ), p. 115.
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© 2015 Davina Quinlivan
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Quinlivan, D. (2015). Queer Bodies between Hopefulness and Rebirth: Rewriting and Transforming the Matter of Bodies in Isaac Julien’s True North and Derek Jarman’s Blue. In: Filming the Body in Crisis. Palgrave Macmillan, London. https://doi.org/10.1057/9781137361370_3
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DOI: https://doi.org/10.1057/9781137361370_3
Publisher Name: Palgrave Macmillan, London
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