Peter Greenaway's film-making, discussed within the context of British cinema, reveals a number of features that have led British critics and film makers to reject his work.The author uses the example of Greenaway's latest films to examine their aesthetics in the paradigm of mise-en-page aesthetics, understood as a variant of surface aesthetics. The adoption of this assumption makes him discuss its individual features as: 'active surface aesthetics', the aesthetics of writing (or calligraphy) and Windows aesthetics. The conceptions show the features of Greenaway's latest films: use of TV pictures and video, morphing as the governing principle of the organisation of visual space, encrustation of writing and the texture of paintings to frames and their visual structure of hypertext. Author's conclusion is that the aesthetics of Greenaway's latest films turns out to be the aesthetics of allegory.
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