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Extra info for Anatomy of an Adult Film
In his book The Last of England, Jarman uses the occasion of watching a documentary about Pasolini’s murder to reﬂect on the similarities between their two careers: Pier Paolo’s enemies saw him as a radical, but in fact he fought for traditional values, he even wrote against the students of ’68 throwing stones at the police. Why didn’t these students, the fortunate ones, throw stones at the real source of repression: the bankers and the judges, rather than these simple boys from the south co-opted by the state?
41 In At Your Own Risk he brieﬂy mentions his attendance at meetings, reprints sections of the GLF manifesto, and discusses the Bradford “zap” that was part of their antipsychiatry movement (71–74). ”43 In an unpublished section of the same interview, Jarman says, “Patrick said to me, ‘It’s not important what you paint it’s the way you lead your life which is more important,’” advice that Jarman seems to have taken to heart. By the early 1970s, Jarman was a part of the largely gay bohemian scene circulating around Andrew Logan, who staged such events as the Alternative Miss World pageant, a highly theatrical radical drag party.
The camera moves into the boathouse, picking out architectural details and patterns formed by the process of disintegration. After surveying the interior, 24 l ibe ra tio n , sp ace, and the early fi l ms the ﬁlm shows us Gerald sitting on the ﬂoor, looking like a ﬁgure in a Modigliani painting with his dramatic hat and scarf. The camera then moves outside, looking back in through the window, with the glass somewhat distorting the image of Gerald. The ﬁlm ends back inside the building, with the camera pulling back and then tilting up into the roof.
Anatomy of an Adult Film by R. Richard, Sunset Thomas