In the Shadow of the Sun draws upon Derek Jarman’s interest in alchemical processes as a metaphor for reprocessing Super-8 film. Originally called English Apocalypse, the film’s final title is derived from a 17th Century alchemical text that used the phrase as a synonym for the philosopher’s stone — the highly sought substance that turns base metals into gold and silver. The film, with a score by Throbbing Gristle, was intended as a step toward the idea of an ambient video, that like its musical counterpart, was designed to enhance an environment.
“In the Shadow of the Sun is a fire film, an English Apocalypse... related to John Dee and alchemy where the distinction between words and things is obscured by the identification of symbols with things... The images are fused with scarlets, oranges and pinks. The degradation caused by the refilming of multiple images gives them a shimmering mystery/energy like Monet’s ‘Nympheas’ or haystacks in the sunset. There is no narrative in the film. The first viewers wracked their brains for a meaning instead of relaxing into the ambient tapestry of random images. The language is there and it is conveyed — and you don’t know what you have to say until you’ve said it. You can dream of lands far distant.” (Derek Jarman)
