aprilbeaujangles reblogged
Hedwig’s first appearance, 1994.
I'm moving over for a fresh start and for a new place to keep all my studies, new and old favorite things. Felt like I needed something new. You may now find me on: aprilandherweekofwonders.tumblr.com
aprilbeaujangles reblogged
Je suis l'âme errante.
Nadja, André Breton (via lesfleursdelart)
Dreams of the Dead | this is pedantic and delusional
aprilbeaujangles reblogged
The mind of the man who dreams is fully satisfied by what happens to him. The agonizing question of possibility is no longer pertinent. Kill, fly faster, love to your heart’s content. And if you should die, are you not certain of reawaking among the dead? Let yourself be carried along, events will not tolerate your interference. You are nameless. The ease of everything is priceless.
Andre Breton, Surrealist Manifesto (via kalliope-amorphous)
aprilbeaujangles reblogged
Andre Breton, Three Collage Poems, (1920’s)
“When will the arbitrary be granted the place it deserves in the formation of works and ideas?” -Andre Breton, From For Dada
A gender swapped Godard and Karina... Basically, I'm trying to find a rly pretty and mysterious man to project all my feels on thru the films I make in my imagination.
aprilbeaujangles reblogged
Stephan Crasneanscki, What We Leave Behind - Jean-Luc Godard Archives, 2014.
Stephan Crasneanscki’s photographs are taken from a genuine yet largely forgotten audio-visual archive of Jean-Luc Godard, (re)discovered by chance somewhere in France. The images are mostly documentary in nature and feature vast piles of cardboard crates, packaging, reels and VHS tapes. They offer, directly or indirectly, an impression of the life of the film-maker and his works.
As is often the case with archives, the sheer volume of content is sometimes overwhelming, perhaps even disheartening. Where do we start in our efforts to make sense of it all? Is this attempt to find meaning even a worthwhile pursuit? It is a collection that titillates and evokes memory.
From this apparently chaotic arrangement, he captures a number of more abstract images, with superimposed documents, scribbles, papers and notes, some of which are reminiscent of the style of Cy Twombly. They may offer some important insights, but they also add to the confusion. The eye is keen to understand; what it may learn from this encoded mystery is the fact that the pen, the visual quality of the ellipses and the imprint are the bedrock of indexing. Yet the spirit is keen to know. What can we learn from these archives? Are they used? Can they even be used?
aprilbeaujangles reblogged
Source: goswinding
hotcommunist-deactivated2019032
[looks at a snail]
me: that slug has private housing
me: fucking capitalist
aprilbeaujangles reblogged
Pierrot Le Fou (1965), dir. Jean-Luc Godard
Source: easymomentsandobsession
aprilbeaujangles reblogged
Masculin, féminin: 15 faits précis (dir. by Jean-Luc Godard, 1966)
Source: theroning
aprilbeaujangles reblogged
The Beaches of Agnès (2008)
Dir. Agnès Varda
15 minutes into Nouvelle Vague n' Chill n' he gives you this look.
aprilbeaujangles reblogged
We went to the movies often. The screen would light up and we would feel a thrill. But Madeleine and I were usually disappointed. The images were dated and jumpy. Marilyn Monroe had aged badly. We felt sad. It wasn’t the movie of our dreams. It wasn’t that total film we carried inside ourselves. That film we would have liked to make. Or, more secretly, no doubt the film we wanted to live.
aprilbeaujangles reblogged
The character of Camille [in Le Mépris] was based less on Bardot’s personality, than on Anna Karina’s. Many of the lines spoken by Bardot in the film were things Karina herself had said to Godard. In one scene, Bardot wore the short dark wig that Karina had worn in Vivre sa vie, and, as she later recalled, Godard even wanted her to walk like Karina.
Source: theroning
"We should boycott women who don't cry- these modern women who try to imitate men."