#Paul Babington Photography

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When Queen Elizabeth’s reign is threatened by ruthless familial betrayal and Spain’s invading army, she and her shrewd adviser must act to safeguard the lives of her people. Credits: TheMovieDb. Film Cast: Elizabeth I, Queen of England: Cate Blanchett Sir Walter Raleigh: Clive Owen Sir Francis Walsingham: Geoffrey Rush Sir Christopher Hatton: Laurence Fox Amyas Paulet: Tom Hollander Elizabeth Throckmorton: Abbie Cornish Robert Reston: Rhys Ifans King Philip II of Spain: Jordi Mollà Mary, Queen of Scots: Samantha Morton Anthony Babington: Eddie Redmayne Calley: Adrian Scarborough William Walsingham: Adam Godley Archduke Charles: Christian Brassington Count Georg von Helfenstein: Robert Cambrinus Dr. John Dee: David Threlfall Spanish Minister: Vidal Sancho Ursula Walsingham: Kelly Hunter Lord Howard: John Shrapnel Torturer: Sam Spruell Cellarman: David Sterne Admiral Sir William Winter: David Robb Courtier: Jonathan Bailey Walsingham’s Servant: Steve Lately Woman with Baby: Kate Fleetwood Infanta Isabel of Spain: Aimee King Annette: Susan Lynch Mary Walsingham: Kristin Coulter Smith Queen Elizabeth’s Waiting Lady #1: Hayley Burroughs Queen Elizabeth’s Waiting Lady #2: Kirsty McKay Queen Elizabeth’s Waiting Lady #3: Lucia Ruck Keene Queen Elizabeth’s Waiting Lady #4: Lucienne Venisse-Back Laundry Woman: Elise McCave Margaret: Penelope McGhie First Court Lady: Coral Beed Second Court Lady: Rosalind Halstead Manteo: Steven Loton Wanchese: Martin Baron Walsingham’s Agent: David Armand Sir Francis Throckmorton: Steven Robertson Ramsey: Jeremy Barker Burton: George Innes Mary Walsingham: Kirstin Smith Old Throckmorton: Tim Preece Dance Master: Benjamin May Royal Servant: Glenn Doherty Dean of Peterborough: Chris Brailsford Executioner: Dave Legeno Spanish Archbishop: Antony Carrick Marriage Priest: John Atterbury First Spanish Officer: Alex Giannini Second Spanish Officer: Joe Ferrara Courtier: Alexander Barnes Courtier: Charles Bruce Courtier: Jeremy Cracknell Courtier: Benedict Green Courtier: Adam Smith Courtier: Simon Stratton Courtier: Crispin Swayne Mary Stuart’s Lady in Waiting: Kitty Fox Mary Stuart’s Lady in Waiting: Kate Lindesay Mary Stuart’s Lady in Waiting: Katherine Templar Courtier (uncredited): Morne Botes Young Boy (uncredited): Finn Morrell Tyger Salior (uncredited): Shane Nolan Film Crew: Screenplay: William Nicholson Director of Photography: Remi Adefarasin Editor: Jill Bilcock Original Music Composer: A.R. Rahman Original Music Composer: Craig Armstrong Set Decoration: Richard Roberts Stunts: Peter Pedrero Stunt Coordinator: Greg Powell Casting: Fiona Weir Stunts: Rob Inch Stunts: Andy Smart Additional Camera: David Worley Costume Design: Alexandra Byrne Supervising Sound Editor: Mark Auguste Production Design: Guy Hendrix Dyas Supervising Art Director: Frank Walsh Director: Shekhar Kapur Screenplay: Michael Hirst Editor: Andrew Haddock Art Direction: David Allday Set Costumer: Martin Chitty Sound Re-Recording Mixer: Steve Single Scenic Artist: Rohan Harris Stunts: Ray Nicholas Art Direction: Andy Thomson Art Direction: Jason Knox-Johnston Production Manager: Mark Mostyn Stunts: George Cottle Stunts: David Anders Stunts: Peter Miles Visual Effects Supervisor: John Lockwood Stunts: John Kearney Stunts: Paul Kennington Stunts: Nick Chopping Costume Supervisor: Suzi Turnbull Hairstylist: Morag Ross Art Direction: Phil Sims Music Editor: Tony Lewis ADR Recordist: Robert Edwards Stunt Double: Abbi Collins Script Supervisor: Angela Wharton ADR Editor: Tim Hands Art Direction: Christian Huband Visual Effects Supervisor: Richard Stammers Stunts: Rowley Irlam Assistant Art Director: Helen Xenopoulos Foley Artist: Mario Vaccaro Visual Effects Supervisor: Steve Street Property Master: David Balfour Greensman: Ian Whiteford Foley Editor: Andrew Neil Stunts: Gordon Seed Sound Re-Recording Mixer: Tim Cavagin Dialogue Editor: Sam Auguste Scenic Artist: James Gemmill Unit Publicist: Stacy Mann Camera Operator: Ben Wilson Visual Effects Editor: Aled Robinson Stunts: Paul Herbert Hairstylist: Do...

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Apollo Intensa Emozione At The FOS2019. 

By Paul Babington

[gemmajouquesresearch]

Ruin Lust Artist’s Fascination with Ruins, from Turner to the Present Day Brian Dillon

What the ruin means today:

‘A reminder of the universal reality of collapse and rot; a warning from the past about the destiny of our own or any other civilisation; an ideal of beauty that is alluring exactly because of its flaws and failures; the symbol of a certain melancholic or maundering state of mind; an image of equilibrium between nature and culture; a memorial to the fallen of an ancient or recent war; the very picture of economic hubris or industrial decline; a desolate playground in whose cracked and weed-infested precincts we have space and time to imagine a future.’ The taste for ruins is a post-medieval invention:

Ruinenlust (Ruin Lust) – German term than the scholar Rose Macaulay resurrected in her 1953 study Pleasure of Ruins. Ruins may have offered Renaissance poets, artists and architects elevating models for their own endeavours, but by the 18th century these structures and sites also looked like warnings of a sort. Doomed arrogance of our race. Piranesi – ruins are not static, ruins allow us to set ourselves loose I time, to hover among present, past and future. History of Ruin Lust:

Affinity with poetic intervention was just one of the reasons why ruins – new ruins that is – proliferated in the gardens and great estates of the 18th century: the artificial ruin stood as both inspiration and emblem of its owner’s modern sensibility. Roots in a mode of seeing – more precisely, framing the ruin in a landscape – that was directed at medieval as well as classical remains. Ornaments of time: ivy, moss and other ‘humble plants’ – evident in J.M.W. Turner, Tintern Abbey: The Crossing and Chancel, Looking towards the East Window, 1794. (Pg. 10) The triumph of nature over the relics of culture and the idea that a ‘natural’ landscape was in fact ideally set off by some reminder of human time. When later artists and writers have evoked the motif of the ruin or recalled the ruin lust of the 18th century as an antique mentality, it has been with some necessary self-awareness. The picturesque is not an aesthetic that has been easy to revisit without irony. Patrick Caulfied – Greece Expiring on the Ruins of Missolonghi, 1963 – derived from a motif, the classical ruin. Moving to the 19th Century:

At the height of the ruin lust of the eighteenth century, violent catastrophe was just as essential to the elaboration of a concept of ruin as sloe and attractive desuetude. Denis Diderot, Salon of 1767 – ‘The ideas ruins evoke in me are grand. Everything comes to nothing, everything perishes, everything passes, only the world remains, only time endures.’ 19th Century – the tradition of this excitable projection of ruin into the future that we have to place the seeming proliferation of visions of destruction – especially urban destruction – that arose in British Art and Literature. Hubert Robert had painted the Louvre in ruins in 1796. The 19th century not lack for visions of future disaster and desolation: Mary Shelley’s apocalyptic novel The Last Man (1826) Richard Jefferies’s After London (1885), with its narrative of the ravaged city slowly overcome by nature.

The central ruinous motif in British art and literature of this period was by Thomas Babington Macaulay in 1840. Projected his readers forward – a traveller from New Zealand, in the midst of a vast solitude, takes his stand on a broken arch of London Bridge to sketch the ruins of St Pauls. A century or more after, his great niece reflected on the destruction of the capital wrought by German bombing. Rose Macaulay, Pleasure of Ruins, - ‘Ruinenlust has come full circle: we have had our fill? Surely the taste for ruins requires a degree of fantasy.’’ But such wholesome hankerings are, it seems likely, merely a phase of our fearful and fragmented age.’ Paul Nash, Totes Meer (Dead sea), 1940-1 In the final pages Macaulay wrote about the buildings left gaping but oddly ennobled by the bombs. The Prospect of an Entire City Laid to Ruin:

Classical and biblical examples provide the models for how one might look at such a scene; Rome, Pompeii, Babel, Sodom and Gomorrah. But by the middle of the century the modern city was just as apt to provide images of ruin, either in reality or in the context of anxious visions of the future. Photography was then providing new images of the old ruins more familiar from paintings and poetry. Wars of the 20th century occasioned many acts and examples of urban ruin i.e. vast ruination of Europe’s cities in the Second World War. In the second half of the century there was a good deal of artistic response to the city. The more precise failures of modernist housing complexes – hastily built and quickly neglected – may be seen in Rachael Whiteread’s Demolition series of 1996, showing the erasing of tower blocks on three estates in Hackney. ‘The spectre of the city in ruins still haunts the contemporary imagination, quickened now by the idea of ecological collapse and the depredations of more recent economic crisis’ Pg.30

Decayed Detroit – illustrates time and again the effects of global financial disaster. Becomes a terrible warning about human ambition and hubris. Discrete Object: • The ruin is at one level an object, at another a motif; it stands in relation to its surroundings. • The ruin has a dialectical relationship with the landscape. And further with mature itself; with an idea of nature and its decaying or burgeoning reality. • Georg Simmel – As the structure decays, nature begins to take the upper hand, exercising its ‘brute, downward dragging, corroding, crumbling power.’ • Natural World – is that not also subject to a type of ruination, whether by organic, geological or artificial forces? - Natural catastrophe has long been a subject of artistic representation – biblical flood, destruction of cities by volcanoes or earthquakes or more recent depredations of environmental emergency. • For the Romantics, bleak and desolate landscapes such as those of mountainous regions seemed to match on a vast, even more sublime, scale to the fabled destructions of cities. • The apparently natural world is victim of our labours, ambitions or neglect – it is possible to conceive a whole landscape turned to ruin. - Such landscapes have proliferated in British art of the past half century; poisoned land, post-industrial ruin turning back to nature, sites rendered desolate by human activity. - Geographers have begun to call such territory ‘drosscape’; many artists and writers have been seduced by the notion of ‘the zone’. - Name derived from Andrei Tarkovsky’s 1979 film Stalker – in the Zone nature and culture, landscape and ruin, begin to bleed into one another, so that we can no longer see what ruin is and what is background. - Keith Arnatt, A.O.N.B (area of outstanding Natural beauty) 1982-4

Conclusion: • The ruin lust of the 18th century begins in part in a way of thinking about – fearing and hoping for – the future. • The ruin traffics with more than one timeframe; it arrives from the past, but incomplete. It may well survive us, or slump into vacancy before our eyes. It stands as a warning for our own futures – it leaves room amongst its empty vaults and vistas, for the invention of a new future. • Perhaps most unsettling, it conjures a future past, the memory of what might have been. It is this retro-futurist aspect of the ruin that has excited the most artistic attention in recent decades – the way they haunt a present unsure if there will be a future, never mind what it might contain. Robert Smithson – given a name to this new temporal predicament among the relics of the mid-20th century architecture, infrastructure and environment; ‘ruins in reverse’. These are relics that don’t fall into ruin after they are built but rather rise into ruin before they are built. Even the most solid and indestructible of remains could no longer be said to be themselves alone, but rather routes out of our own moment – portals into past, present and future.

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De Tomaso P72 . 

"In action at the 2019 Goodwood Festival of Speed."

By Paul Babington