mizoguchi:

All that we wanted was to find a new form. A new way. Release.

Women Without Men (Shirin Neshat & Shoja Azari - 2009)

ruinawish:

CUT TO: The Corleone Dining Room (6:30pm). Sonny, Clemenza, Tessio and Rocco are sitting around, eating Chinese food while waiting for news about where the Sollozzo meeting will take place. Michael smokes as the others eat. -early evening

According to Scott M. Deitche, author of The Everything Mafia Book, “Asian cuisine was popular with mobsters who grew up in Little Italy, which was located right next to Chinatown”.

Oh, and another pic where you can see the boom microphone. 

mivvu:

irrelevantnutella asked you: how about some sugarlessgum, marceline and princess bubblegum? UvU

sorry for the messyness!

utadasam72:

Rapunzel Dancing in the Lights ( Tangled )

By: “±13”

"I would like to make a film to tell children, ‘It’s good to be alive’."
- Hayao Miyazaki (via agnesnutter)

Have you been in the cinema watching a film, and it’s had an almost supernatural effect on you—elevated you out of your material state?
Apichatpong Weerasethakul: Yes, yes. That movie was [Tsai Ming-liang’s] Good Bye, Dragon Inn. Because it brought me back to my home town. It’s the same kind of cinema, and similar kinds of characters, and it made me cry inside. It’s one of the best films for me.

dhrupad:

As girls grow into womanhood, the body becomes the central medium through which these unwritten codes of behavior are transmitted and memorized. The demure lowered gaze fixed at some point on the floor, the acquiescent nod of the head, the feminine swing of the hips, the closely held thighs and the modestly drawn-in shoulders are all written into our bodies by invisible hands and inaudible words so that we start believing that this is the way we are supposed to be.

The containment of a woman’s body is demonstrated by the very tightness with which she holds herself and moves The notion that such gendered body language is ‘natural’ is reinforced by observing other women we encounter. For example, observing men and women in public transportation and on the streets of Mumbai, one notices the tentative and watchful manner in which women occupy public space. In BEST buses, the average women will occupy the least possible space, rendering herself as inconspicuous as she can…on the other hand, the average man will spread his legs out, occupy more than half of a two-seater in a bus and appear to disregard the people around him.

—Shilpa Phadke, Sameera Khan, Shilpa Ranade,Why Loiter?: Women and Risk on Mumbai Streets

Observing the occupation of space(s) by women is critical praxis for me when I watch films, particularly because there’s always some surprise (and satisfaction) in catching glimpses of scenes where filmmakers break away from the traditionally gendered frame. The screencaps above illustrate that sentiment best. While Indian women at leisure in public spaces has never been a plausible reality for the filmmaker to pursue, this uninhibited, un-sexualized, un-victimized image of women in private, domestic spaces has usually been shied away from as well, because film has been expected to make its female protagonists hyper-aware of their bodies in the form of traditional gender roles for the benefit of a cis, heteronormative, North Indian Hindu male audience. Obviously the harrowing majority of filmmakers from parallel cinema to the so-called mainstream are male and their own sexist expectations of women have been translated into the narratives of their films along with the way they frame their female protagonists, never affording viewers with the realities (or criticisms) of women and their occupancy of private/domestic space. 

The women in these films however, are able to lie faceless and thoughtless in crumpled sarees and nightgowns, no male gaze to bind their bodies to a decreed acceptable amount of space. They spill out from the frame, with hidden limbs, faces, thoughts—a luxury the traditionally gendered frame would not dream of providing.

"The woman who wears glasses constitutes one of the most intense visual clichés of the cinema. The image is a heavily marked condensation of motifs concerned with repressed sexuality, knowledge, visability and vision, intellectuality, and desire. The woman with glasses signifies simultaneously intellectuality and undesirability; but the moment she removes her glasses (a moment which, it seems, must almost always be shown and which is itself linked with a certain sensual quality), she is transformed into spectacle, the very picture of desire. Now, it must be remembered that the cliché is a heavily loaded moment of signification, a social knot of meaning. It is characterized by an effect of ease and naturalness. Yet, the cliché has a binding power so strong that it indicates a precise moment of ideological danger or threat — in this case, the woman’s appropriation of the gaze. Glasses worn by a woman in the cinema do not generally signify a deficiency in seeing but an active looking, or even simply the fact of seeing as opposed to being seen. The intellectual woman looks and analyses, and in usurping the gaze she poses a threat to an entire system of representation."
- Mary Ann Doane: “Film and the Masquerade: Theorizing the Female Spectator” (via mappingthemoon)

"Where do I find my consolations? There are many ways to be consoled. Everyone deserves to find their own way, and find such peace as they can. I find my greatest consolations come from Art.
A message from light years away would probably miss me in my box of space and time, but I find that Art can shout to me across a few years or centuries, and it carries the same message: “Yes, I exist, and you are not alone.” […] That’s what we are, a quintessence of dust. That Shakespeare could so conclude, and then end with a little joke is, to me, a great comfort."
- Roger Ebert - A Quintessence of Dust (via lyras)

roserayne:

“Really it took all my patience not to lob my shoes at him.” Ariel muttered leaning against Kida. “You’ll bail me out right? If he decides to arrest me?”

Kida nods, “Oh look Jaz is back with drinks!”

“Friends that bring me food and will bail me out of jail. What more could I need?” Ariel smiles at Kida while reaching for her drink.

“How about friends that encourage peaceful solutions?” Belle pretends to raise her hand. Jasmine rolls her eyes. “Yes, exactly how peaceful was your solution with Gaston again?”

“Hey, I just closed the door, his face walked into it all on his own.”

See the rest of my DP AU here.