Playing in The Garden: Sound, Performance, and Images of Persecution

Argues how the soundtrack can offer a unity of discourse in British filmmaker Derek Jarman's "The Garden" (1990). Notes that the central, (thought nonlinear) narrative is based loosely on the story of the Passion, in which a gay couple are substituted for the traditional Jesus figure...

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Veröffentlicht in:	Indiana theory review 1998-04, Vol.19 (1-2), p.35-54
1. Verfasser:	Davison, Annette
Format:	Artikel
Sprache:	eng
Schlagworte:	Acquired immune deficiency syndrome AIDS Cameras Electroacoustics Film music Film soundtracks Film theory Filmmakers Filmmaking Gestures Homosexuality Imagery Jarman, Derek Movies Music Music psychology Musical performance Sound Processing Soundtracks
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description	Argues how the soundtrack can offer a unity of discourse in British filmmaker Derek Jarman's "The Garden" (1990). Notes that the central, (thought nonlinear) narrative is based loosely on the story of the Passion, in which a gay couple are substituted for the traditional Jesus figure on several occasions. Suggests that a gap is exposed between sound and image, creating a space in which the soundtrack is able to speak its own voice, liberated from slavery to the image. Explains that "The Garden" presents a damning criticism - embodied in the form of the image and the camera - of the British tabloid press's renewed vigor in their persecution of homosexuals since the AIDS crisis. Describes how the soundtrack would redeem the film's message.
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subjects	Acquired immune deficiency syndrome AIDS Cameras Electroacoustics Film music Film soundtracks Film theory Filmmakers Filmmaking Gestures Homosexuality Imagery Jarman, Derek Movies Music Music psychology Musical performance Sound Processing Soundtracks
title	Playing in The Garden: Sound, Performance, and Images of Persecution
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