Analyzing the ways in each uses the frame-within-the-frame, Orr finds Jarman “is largely fascinated by the temporal frame-within-a-frame of film narrative, the leap of epochs acting as a disruptive shock not only to the viewer’s sensibilities but to his/her sense of linear history.” By contrast, Greenaway, he finds, “is more obsessed by the spatial frame-within-the-frame, the viewfinder, the painting, the photograph, even the photocopy…[which becomes] an even more self-conscious and cerebral meditation...
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Unfortunately, after his percipient remarks about Greenaway’s spatial preoccupations, Orr veers into an ill-considered analysis of what he sees as kitsch and camp elements in Greenaway’s mise-en-scenes, which he describes as being obsessed with “collecting” objects to fill the screen; he completely misses the point behind the director’s use of such objects as metaphorical conceits...
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