Caravaggio

Front Cover
British Film Institute, May 27, 1999 - Performing Arts - 86 pages
0 Reviews
Caravaggio(1986) is probably the closest Derek Jarman came to a mainstream film. And yet the film is a uniquely complex and lucid treatment of Jarman's major concerns: violence, history, homosexuality, and the relation between film and painting. However, according to Leo Bersani and Ulysse Dutoit, Caravaggio is unlike Jarman's other work in avoiding a lover-boy sentimentalising of gay relationships and in making no neat distinction between the exercise and the suffering of violence.
Film-making involves a coercive power which, for Bersani and Dutoit, Jarman may, without admitting it to himself, have found deeply seductive. But in Caravaggio this power is renounced, and the result is Jarman's most profound, unsettling and astonishing reflection on sexuality and identity.

From inside the book

What people are saying - Write a review

We haven't found any reviews in the usual places.

Common terms and phrases

References to this book

About the author (1999)

Leo Bersani is the Class of 1950 Professor of French at the University of California, Berkeley.

Ulysse Dutoit teaches film at the University of California, Berkeley.

Bibliographic information