ABSTRACT
Derek Jarman questioned the modernist eradication of history but as a film-maker
had little concern for architectural modernism. His relevance to my theme depends
on his attitude to the environment. Affirming the tradition that associates a people
and a place with its landscape, Derek Jarman identified with the picturesque and
romanticism in English art and poetry, as well as the pastoral films of the 1940s
and 1950s, when a burgeoning neo-romanticism celebrated national identity.
