Movies re-imagined for another time & place by Peter Stults


aeryn: in the beginning, i found you interesting.
john: me?
aeryn: yes. but only for a moment!



myampgoesto11:

Nikolaus Gansterer: The Gray Matter Hypothesis

chalk drawing on black wall, 2013

a diagram showing internal correlations and their external consequences marked out by key figures of thought balancing between reflecting and representing symbols of power affected by the structures of human experience and the various forms of interpretation.”


Marlon Brando as Stanley Kowalski in A Streetcar Named Desire (1951) Directed by Elia Kazan.


“The whole concept of originality is now … officially dead. You don’t meet new ideas and new characters.” —

In his lectures on creative writing, William S. Burroughs echoes Mark Twain’s contention that “all ideas are second-hand, consciously and unconsciously drawn from a million outside sources,” Alexander Graham Bell’s assertion that “our most original compositions are composed exclusively of expressions derived from others,” young Virginia Woolf’s observation that “all the Arts … imitate as far as they can the one great truth that all can see,” and Annie Dillard’s admonition that trying to be original is a mistake because “everything’s been written.”

Pair with Austin Kleon’s Steal Like an Artist

(via kendarrr)


American Beauty film poster by Peter Strain [buy]


“If you can’t love yourself, I guess that’s it then.” — Friedrice Nietzsche (via nevver)


don’t stop believin’
hold on to that feelin’

“When something bad happens you have three choices: You can let it define you, you can let it destroy you, or you can let it strengthen you.” — Unknown (via onlinecounsellingcollege)


nevver:

Look


Let’s Talk About Movies:

Motifs, Symbols, Metaphors, and Allusions
The art of filmmaking by Akira Kurosawa

A figurative technique can be defined as an artistic device in which an object suggest abstract ideas and emotions over and beyond what the object literally means. A good example of the shifting implications of a symbol can be seen in the uncut version of Kurosawa’s The Seven Samurai. In this movie, a young samurai and a peasant girl are attracted to each other, but their class differences present insurmountable barriers.

  • Kurosawa emphasizes their separation by keeping them in separate flames, a raging outdoor fire acting as a kind of barrier. (Frame 1 and 2)
  • But their attraction is too strong, and they then appear in the same shot, the fire between them now suggesting the only obstacle, yet paradoxically, also suggesting the sexual passion they both feel (Frame 3)
  • They draw towards each other, and the fire is now to one side, its sexual dominating (Frame 4)
  • They go inside a hut, and the light from the fire outside emphasizes the eroticism of the scene (Frame 5)
  • As they begin to make love in a dark corner of the hut, the shadow cast by the fire lights on the reeds of the hut seen to streak across their bodies (Frame 6)
  • Suddenly, the girl’s father discovers the lovers, and now the billowing flames of the fire suggest his moral outrage (Frame 7)
  • Indeed, he is so incensed that he must be restrained by the samurai chief, their images almost washed out by the intensity of the fire lights (Frame 8)
  • It begins to rain, and the sorrowing young samurai walks away despondently (Frame 9)
  • At the end of the sequence, Kurosawa offers a close-up of the fire, as the rain extinguishes its flames (Frame 10)

(Giannetti, Louis D. Understanding Movies second edition. New Jersey, 1976.)


Yo Ho, haul together,
Hoist the colours high,
Heave Ho, Thieves and Beggars,
Never shall we die!


"I’m like the luckiest girl in the world. I’ve gotten to be a princess, I’ve gotten to work with the Muppets. A lot of my childhood dreams about who I wanted to be when I was a grown-up, I at least get to play them in movies."


“Eat me, drink me, love me. She kissed and kissed her with a hungry mouth. Like honey to the throat but poison to the blood.” — Christina Rossetti (via wixkedwitch)