Places Derek Jarman in the tradition of lyric film and offers incisive readings of all eleven of his feature-length films Looks at Jarman and other directors working in a similar vein to establish how lyric films are composed through the use of visual imagery and actual poetry Traces Jarman’s use of imagery (notably mirrors and the sea) in his films and discusses in detail the relationship between cinematic representations and sexual identity This path-finding book places Derek Jarman in the tradition of lyric film and offers incisive readings of all eleven of his feature-length films, from Sebastiane to Blue. Steven Dillon looks at Jarman and other directors working in a similar vein to establish how lyric films are composed through the use of visual imagery and actual poetry. He then traces Jarman’s use of imagery (notably mirrors and the sea) in his films and discusses in detail the relationship between cinematic representations and sexual identity. This insightful reading of Jarman’s work helps us better understand how films such as The Last of England and The Garden can be said to cohere and mean without being reduced to clear messages. Above all, Dillon’s book reveals how truly beautiful and brilliant Jarman’s movies are.