Editing Peter Greenaway (section)

==Career==

===1962–1999===
[[File:Greenaway 01.jpg|thumbnail|upright|Greenaway at the [[44th Venice International Film Festival|44th Venice Film Festival]] (1987)]]
In 1962, Greenaway began studies at [[Walthamstow College of Art]], where a fellow student was musician [[Ian Dury]] (later cast in ''[[The Cook, the Thief, His Wife & Her Lover]]''). Greenaway trained as a muralist for three years; he made his first film, ''Death of Sentiment'', a churchyard furniture essay filmed in four large London cemeteries. In 1965, he joined the [[Central Office of Information]] (COI), where he went on to work for fifteen years as a film editor and director. In that time he made a series of experimental films, starting with ''Train'' (1966), footage of the last steam trains at [[London Waterloo railway station|Waterloo station]] (situated behind the COI), edited to a ''[[musique concrète]]'' composition. ''Tree'' (1966) is a homage to the embattled tree growing in concrete outside the [[Royal Festival Hall]] on the [[South Bank]] in London. In the late 1970s, he made ''[[Vertical Features Remake]]'' and ''A Walk Through H''.<ref>[http://www.screenonline.org.uk/film/id/493641/index.html Walk Through H, A (1978)] ''BFI Screenonline''</ref> The former is an examination of various arithmetical editing structures, and the latter is a journey through the maps of a fictitious country.{{citation needed|date=May 2024}}

In 1980, Greenaway delivered ''[[The Falls (1980 film)|The Falls]]'' (his first feature-length film) – a mammoth, fantastical, absurdist encyclopaedia of flight-associated material all relating to ninety-two victims of what is referred to as the Violent Unknown Event (VUE). In the 1980s his cinema flowered in his best-known films, ''[[The Draughtsman's Contract]]'' (1982), ''[[A Zed & Two Noughts]]'' (1985), ''[[The Belly of an Architect]]'' (1987), ''[[Drowning by Numbers]]'' (1988), and his most successful film, ''[[The Cook, the Thief, His Wife & Her Lover]]'' (1989). Greenaway's most familiar musical collaborator during this period is composer [[Michael Nyman]], who has scored several films.<ref>[https://www.independent.co.uk/arts-entertainment/close-your-eyes-and-listen-michael-nyman-has-a-problem-and-it-s-nothing-to-do-with-turning-50-it-s-peter-greenaway-and-all-those-movies-by-mark-pappenheim-1464663.html Close your eyes and listen: Michael Nyman has a problem, and it's nothing to do with turning 50. It's Peter Greenaway and all those movies.]: interview with Michael Nyman by Mark Pappenheim ''The Independent'', 1 December 1993.</ref>

In 1989, Greenaway collaborated with artist [[Tom Phillips (artist)|Tom Phillips]] on a television serial ''[[A TV Dante]]'', dramatising the first few cantos of [[Dante Alighieri|Dante]]'s ''[[The Divine Comedy|Inferno]]''. In the 1990s he presented ''[[Prospero's Books]]'' (1991), the controversial ''[[The Baby of Mâcon]]'' (1993), ''[[The Pillow Book (film)|The Pillow Book]]'' (1996), and ''[[8½ Women]]'' (1999).{{citation needed|date=May 2024}}

In the early 1990s Greenaway wrote ten opera [[libretti]] known as the ''[[Death of a Composer]]'' series, dealing with the commonalities of the deaths of ten composers from [[Anton Webern]] to [[John Lennon]]; however, the other composers are fictitious, and one is a character from ''The Falls''. In 1995, [[Louis Andriessen]] completed the sixth libretto, ''[[Rosa – A Horse Drama]]''. He is currently professor of cinema studies at the [[European Graduate School]] in [[Saas-Fee]], Switzerland.<ref>[https://web.archive.org/web/20200925072818/https://egs.edu/biography/peter-greenaway/  Peter Greenaway: Professor of Film at The European Graduate School ]. Retrieved 20 May 2024.</ref>

===2000–present===
Greenaway presented the ambitious ''[[The Tulse Luper Suitcases]]'', a multimedia project that resulted in three films, a website, two books, a touring exhibition, and a shorter feature which reworked the material of the first three films.{{citation needed|date=May 2024}}

He also contributed to ''[[Visions of Europe (film)|Visions of Europe]]'', a short film collection by different European Union directors; his British entry is ''[[The European Showerbath]]''. ''[[Nightwatching]]'' and ''[[Rembrandt's J'Accuse]]'' are two films on [[Rembrandt van Rijn|Rembrandt]], released respectively in 2007 and 2008. ''Nightwatching'' is the first feature in the series "Dutch Masters", with the second project titled as ''[[Goltzius and the Pelican Company]]''.<ref>{{cite journal |last=Morgan |first=Nesta |title=nightwatching |journal=[[Film&festivals]] |volume=2 |issue=2 |page=5 |publisher=Wallflower Press / Film Culture Ltd. |location=United Kingdom |issn=1755-5485}}</ref>

On 17 June 2005, Greenaway appeared for his first [[VJing|VJ]] performance during an art club evening in Amsterdam, Netherlands, with music by DJ Serge Dodwell (aka Radar), as a backdrop, 'VJ' Greenaway used for his set a special system consisting of a large plasma screen with laser controlled touchscreen to project the ninety-two ''Tulse Luper'' stories on the twelve screens of "Club 11", mixing the images live. This was later reprised at the Optronica festival, London.{{citation needed|date=May 2024}}

On 12 October 2007, he created the multimedia installation ''[[Peopling the Palaces at Venaria Reale]]'' at the [[Royal Palace of Venaria]], which animated the Palace with 100 videoprojectors.<ref>{{cite web |title=Peopling The Palaces at Venaria Reale – Enciclopedia del cinema in Piemonte |url=http://www.cinemainpiemonte.it/enciclopedia/schedafilm.php?film_id=1198&stile=small&PHPSESSID=478d8627f581cc06656409acbc362ca1 |access-date=12 February 2011}} {{dead link|date=January 2017}}</ref>

Greenaway was interviewed for Clive Meyer's ''Critical Cinema: Beyond the Theory of Practice'' (2011), and voiced strong criticisms of film theory as distinct from discussions of other media: "Are you sufficiently happy with cinema as a thinking medium if you are only talking to one person?"<ref>{{citation |last=Laurie |first=Timothy |title=Critical Cinema: Beyond the Theory of Practice |url=https://www.academia.edu/2763909 |journal=Media International Australia |volume=147 |page=171 |year=2013|doi=10.1177/1329878X1314700134 |s2cid=149797284 }}</ref>

On 3 May 2016, he received a Honoris Causa doctorate from the University of San Martín, Argentina.<ref>{{cite web |url=http://noticias.unsam.edu.ar/2016/04/27/peter-greenaway-llega-a-la-unsam/ |title=Peter Greenaway llega a la UNSAM » Noticias UNSAM<!-- Bot generated title --> |access-date=9 January 2017 |archive-url=https://web.archive.org/web/20170110085646/http://noticias.unsam.edu.ar/2016/04/27/peter-greenaway-llega-a-la-unsam/ |archive-date=10 January 2017 |url-status=dead}}</ref>

===''Nine Classical Paintings Revisited''===
In 2006, Greenaway began a series of digital [[video installation]]s, ''Nine Classical Paintings Revisited'', with his exploration of [[Rembrandt]]'s ''[[Night Watch (painting)|Night Watch]]'' in the [[Rijksmuseum]] in Amsterdam. On 30 June 2008, after much negotiation, Greenaway staged a one-night performance 'remixing' [[Leonardo da Vinci|da Vinci]]'s ''[[The Last Supper (Leonardo)|The Last Supper]]'' in the [[refectory]] of [[Santa Maria delle Grazie (Milan)|Santa Maria delle Grazie]]<ref>[http://www.petergreenaway.info/content/view/130/1/ "Leonardo's Last Supper"] {{webarchive |url=https://web.archive.org/web/20090221095515/http://www.petergreenaway.info/content/view/130/1/ |date=21 February 2009}}, Peter Greenaway's official site.</ref> in Milan to a select audience of dignitaries. The performance consisted of superimposing digital imagery and projections onto the painting with music from the composer [[Marco Robino]].{{citation needed|date=May 2024}}

<gallery mode="packed">
File:La ronda de noche, por Rembrandt van Rijn.jpg|''[[Night Watch (painting)|Night Watch]]'' by [[Rembrandt]]
File:Paolo Veronese 008.jpg|''[[The Wedding at Cana (Veronese)|The Wedding at Cana]]'' by [[Paolo Veronese]] (mid-16th century)
</gallery>

Greenaway exhibited his digital exploration of ''[[The Wedding at Cana (Veronese)|The Wedding at Cana]]'' by [[Paolo Veronese]] as part of the 2009 [[Venice Biennial]]. An arts writer for ''[[The New York Times]]'' called it "possibly the best unmanned art history lecture you'll ever experience," while acknowledging that some viewers might respond to it as "mediocre art, [[Disneyfication|Disneyfied]] [[kitsch]] or a flamboyant denigration of [[Site-specific art|site-specific]] video installation." The 50-minute presentation, set to a soundtrack, incorporates closeup images of faces from the painting along with animated diagrams revealing compositional relations among the figures. These images are projected onto and around the replica of the painting that now stands at the original site, within the [[Palladian architecture]] of the [[Benedictine]] refectory on [[San Giorgio Maggiore]]. The soundtrack features music and imagined dialogue scripted by Greenaway for the 126 "wedding guests, servants, onlookers and wedding crashers" depicted in the painting, consisting of [[small talk]] and banal chatter that culminates in reaction to the [[Marriage at Cana|miraculous transformation of water to wine]], according to the [[Gospels]] the [[Miracles attributed to Jesus|first miracle performed]] by Jesus. [[Picasso]]'s ''[[Guernica (painting)|Guernica]]'', [[Georges-Pierre Seurat|Seurat]]'s ''[[A Sunday Afternoon on the Island of La Grande Jatte|Grande Jatte]]'', works by [[Jackson Pollock]] and [[Claude Monet]], [[Diego Velázquez|Velázquez]]'s ''[[Las Meninas]]'' and [[Michelangelo]]'s ''[[The Last Judgment (Michelangelo)|The Last Judgment]]'' are possible series subjects.<ref>Roberta Smith, "In Venice, Peter Greenaway Takes Veronese's Figures Out to Play", ''The New York Times'' 21 June 2009 [https://www.nytimes.com/2009/06/22/arts/design/22greenaway.html?em online.]</ref>