![]() When not awake, she has bluntly symbolic dreams about cats peering down over fish tanks or juking a marauding group of students rushing at her. It’s rendered in dreary, metronomic compositions that convey her repression. Jean is also descending into her own fugue state. Even Jean’s students are becoming more casual and vocal in their homophobia. Screeds about nuclear families are unavoidable on the radio. Sloganeering billboards pervade the town. Taking place during the time of Thatcher’s Clause 28, which prohibited various bodies, including schools, from providing positive representations of homosexuality, Blue Jean fully embodies that atmosphere. Rosy McEwen struggles to find her real self in the mirror. Jean’s true community lies at a queer club where her friend group and her butch punk girlfriend Viv (Kerrie Hayes) all live without requiring a daily performance. ![]() All in the name of ensuring her five-year-old son not be “confused”. Conversely, Jean’s sister is aware of her sexuality but insists that she hide it. Jean’s defined place feels constructed to fish for homophobic suppositions, whether drawn from Jean’s occupation as a female PE teacher (and her androgynous but straight-passing appearance) or her conscious isolation from colleagues. The issue is how those conflicting relationships manifest so mechanically in both the writing and filmmaking. The presentation of self in public/private spaces, heterosexual/lesbian appearances, and the visibility/invisibility of those masks weigh heavy in all these moments. She watches straight suitors on Blind Date, meticulously washes her short hair (there’s, of course, a later character beat about her previously longer hair), and deep cleans her sparsely decorated apartment in a fashion that foreshadows the confrontational duality of Jean’s everyday personhood. How does one navigate criticizing a film’s self-imposed binaries while also accounting for the realities of a restrictive period, the gravity of the subject matter (and parallel current circumstances), and the differentiation of what is intended as cinematic affect and what constitutes clumsy filmmaking?įrom the first frame, the film lards Jean’s ( Rosy McEwen) characterization with obvious signifiers of queer anxiety. You can also do some tweaking with the levels and the opacity until you get the desired feel you are looking for.A portrait of a closeted lesbian woman living in England during Margaret Thatcher’s oppressively homophobic 1980s reign, Georgia Oakley’s Blue Jean illustrates a unique paradox for a critic. If you plan to use some of our files as filters, just place them in your timeline over your footage, and play around with composite mode effects such as overlay and screen. ![]() The Quicktime files will work on any decent video editing or compositing software such as Final cut pro, Adobe after effects, Adobe premiere or Avid media composer. Some of the film got intentionally beat up, and then, everything got digitized with high-res scanners. Our clips were created from authentic film that was shot with vintage cameras and then processed in labs. ![]() ![]() We also offer some superb footage of old countdowns, head and tail leaders, and artistically colored grunge film. We have the greatest film scans with artefacts such as film grain, dirt and scratches, film burns, light leaks, flash frames, splices and beautiful photo chemical reactions. You are a filmmaker or a video editor and you are looking for a great way to give that old film look to your masterpiece. ![]()
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