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Derek Jarman in Ostia
Alexandra Parsons

his reading and thinking, pronouncing passionately on a variety of subjects and demonstrating unconcern about revising or contradicting earlier opinions – Ellis comments that the two filmmakers were ‘passionate if muddy thinkers’. 5 His films developed from neo-realism to more Brechtian techniques, and he moved from using modern settings to historical and mythic ones. Pasolini was a notorious public figure with unorthodox left-wing politics whose films were the cause of public controversy and subject to government

in Luminous presence
Marcia Landy

, in James Hay’s words, concealed their political message and ‘their rhetorical nature through myths about historical events and figures’. 5 The cinema of the postwar era did not abandon its historical preoccupations. While neo-realism was in reaction against the artificial and stylised historical spectacles of the Fascist era, neo-realism was, none the less, ‘historical in the end’, according to

in Medieval film
The Last of England and The Garden
Alexandra Parsons

Mills, Derek Jarman's Medieval Modern , p. 163. 49 Ó Carragáin and North, ‘How Christian is OE Literature?’, p. 167. 50 André Bazin, ‘On the politiques des auteurs (April 1957)’, trans. Peter Graham, in Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave , ed. Jim Hillier (Cambridge, MA

in Luminous presence