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Ingmar Bergman, Jungfrukällan
These are strange and dangerous times. Some of us are born with the cross hairs of a rifle scope printed on our backs or skulls. Sometimes it’s a matter of thought, sometimes activity, and most times it’s color.
David Wojnarowicz, Close to the Knives
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modern1960s-deactivated20180330
Alain Delon at Piazza San Marco, Venice 1962. Photo: Robert Doisneau
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keyframedaily
Derek Jarman’s Caravaggio (1986).
Poster by Wieslaw Walkuski.
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Derek Jarman (British, 1942-1994), Flower Piece, 1965. Oil on canvas, 59¾ x 59¾ in.
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thegeneralwill
American Crime is quietly doing some amazing and important work. It’s telling the story of a male survivor of sexual assault in high school. The writer doesn’t shrink from it. The director doesn’t shrink from it. Different perspectives, all represented. It is well handled and understated. It exposes the ridiculous process survivors go through to be heard and the convoluted process required to get anything close to the truth. Confirmation biases, gender roles, victim psychology, and a remarkably accurate presentation of how everyone involved just wants nothing but normalcy. I’m so thankful. It’s a story I need to hear. It’s a story I need to remember. It’s a story that needs to be shared.
I have been a victim advocate for the better part of 15 years, currently working at a small non-profit in the Midwest. I provide free, confidential support to survivors of sexual violence who want help navigating their trauma recovery: a path that can be circuitous, complicated and full of frustrating double backs.
I also watch a lot of TV. And I've become unfortunately inured to sexual assault being used by shows as a well-tread, sometimes crass, plot device: rarely speaking to the true depth of survivors' experiences. My optimism for American Crime, then, was beyond-cautious.
...
I spent the first half of the season bracing myself for the ways in which American Crime, with all [its] layers of complexity, could spectacularly miss its mark. Instead, I have been surprised to find, each week, a consistently shrewd window on some little-acknowledged aspects of our society's relationship to sexual violence.
“What American Crime Gets Right About Sexual Assault” (Huffington Post)
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Blue (dir. Derek Jarman, 1993)
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Midwest Gothic
- At night you hear coyotes howling and deer screaming. At night you hear trains in the distance. At night you hear frogs. The worst nights are the ones where there are no sounds at all.
- You let your dog outside, on a tether, so he can’t run off. He stares out at the field behind your house, and further, at the woods behind it. You see nothing. You’re glad. It’s worse when you see what’s out there.
- The cats have caught something and dropped it on your back step, proud and haughty. You thank them. You have no idea what they caught. You never want to know what it is.
- Summer nights are full of bonfires and laughing and even though the fire is blazing, the light of it doesn’t reach very far. Shouldn’t it reach farther? Shouldn’t you be able to see everyone’s faces clearly? You haven’t had anything to drink. The fire doesn’t feel very warm at all.
- The corn fields are awful, yes, but you can ignore what walks them when the stalks are tall and golden. The soy years are worse. It’s almost impossible to ignore them, then.
- Road crews fill in the potholes with asphalt. Road crews fill in the potholes with tar. Road crews fill in the potholes with meat. The roads are satisfied and you are safer.
- One night the road pops one of your tires. You do not leave the car. You do not check the damage. You call someone for aid, and it’s only when there are at least four people, all armed with heavy flashlights, that you leave the car. Someone is chanting in a language you don’t know. The eyes that watch you from the soy fields do not blink.
- You shouldn’t swim in Lake Erie. All the same, you’ve seen people far away, in the water.
- Everyone laughs and jokes about returning to the old ways if the snow keeps up. When it snows in March, towards the end of the month, the jokes become less funny. No one wants to draw straws.
- If you left the state limits, would the land drop off like a cliff, falling into space? Or would there be nothing, nothing, nothing, just empty roads and rest stops that all look the same?
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The Conformist
1970
dir. Bernardo Bertolucci
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lapitiedangereuse
The 400 Blows
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The ladies of SUSPIRIA, then (1977) and now: Jessica Harper (Suzy) then / now; Stefania Casini (Sara) then / now; Barbara Magnolfi (Olga) then / now.
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1950s advertisement for trash cans.
labrys2
me sitting with my friends
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supermattachine-deactivated2011
Within the lesbian community I am Black, and within the Black community I am a lesbian. Any attack against Black people is a lesbian and gay issue, because I and thousands of other Black women are part of the lesbian community. Any attack against lesbians and gays is a Black issue, because thousands of lesbians and gay men are Black. There is no hierarchy of oppression.
It is not accidental that the Family Protection Act, which is virulently anti-woman and anti-Black, is also anti-gay. As a Black person, I know who my enemies are, and when the Ku Klux Klan goes to court in Detroit to try and force the Board of Education to remove books the Klan believes “hint at homosexuality,” then I know I cannot afford the luxury of fighting one form of oppression only. I cannot afford to believe that freedom from intolerance is the right of only one particular group. And I cannot afford to choose between the fronts upon which I must battle these forces of discrimination, wherever they appear to destroy me. And when they appear to destroy me, it will not be long before they appear to destroy you.
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"Thinker Of Tender Thoughts" by Brandon Stanciell.