The easy freedom of this medium allowed the artist to range over subjects as diverse as Tarot, male nudes at Fire Island and a friend’s flat – and offer clues to his more public feature films
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These shorts were all made in the early 1970s, between his first major break in the film industry designing Ken Russell’s 1971 historical fantasy The Devils and releasing his first feature film, the erotic fantasy Sebastiane in 1976. Jarman’s main source of income in this period, apparently, was via Russell; another job, on Savage Messiah, materialised; others, such as a film of Rabelais’ Gargantua and an opera of The Tempest, fell apart. Although Jarman found the uncertainty and committee nature of the commercial film industry dispiriting (so much so that he turned down Russell’s offer of designing Tommy), involvement in it triggered an interest in film-making that largely displaced painting, at least until the mid-80s.
The hermetic, personal nature of these short films can’t be disguised and is, of course, the point; Mackay says that Jarman saw his film-making “on two different levels”. The Super 8 films are, he says, like “private work that an artist makes [for] themselves and for their friends” and the features like a “public commission, in the same way you might make an artwork for some building, or a statue or something”.
“Derek,” he says, “picked up on Super 8 because it was so simple and all under control. He could carry a camera around and make films as he pleased.”