#1988 Tumblr posts

  • 1988 Hotaru no haka (La tumba de las luciérnagas) de Isao Takahata

    #1988 #Hotaru no haka #La tumba de las luciérnagas #Isao Takahata
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  • WOLVERINE #1-3
    NOVEMBER 1988 - JANUARY 1989
    BY CHRIS CLAREMONT, JOHN BUSCEMA, AL WILLIAMSON, KLAUS JANSON AND GLYNIS OLIVER

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    Undercover in Madripoor, Logan tries to rescue a friend who has been kidnapped, in a case around a magical sword. A sword that the Silver Samurai is also looking for and Jessica Drew is bringing to the country.

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    SCORE: 4

    There is just too much padding in this story. The first issue alone may be kind of interesting if you don’t know the character. But I feel like they picked the worst time possible to start this ongoing. With Logan supposed to be dead, he cannot don his costume in this book (and he won’t for a while). It may have been the general idea to not make the book a “super-hero” book. Or even an X-Men book. I think the idea is good, but I don’t think they told a very entertaining story. I would rather read a Jonah Hex story over this.

    Perhaps the reason the story doesn’t work for me, is because non of it will make it into our days. Claremont is trying to establish a supporting cast and world, but all of it will be eventually be forgotten. It may have been interesting in the day but it is hard to say, as Wolverine was a fan-favorite and the book probably sold pretty well.

    Beyond the padding, I feel like Buscema wasn’t the right choice for the book. It feels dated for 1988. I mean, this is Wolverine’s book. It shouldn’t feel this static.

    Spoilers after the break…

    Keep reading

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    There’s little question that the historical Marie-Louise Giraud, an underground abortionist operating in Nazi occupied France executed by the Germans in 1943, was a martyr. The question Claude Chabrol’s 1988 historical drama Story of Women asks, however, is for what cause. Women’s rights? Probably not. Marie (Isabelle Huppert) seems little interested in helping her fellow women out of principle. Instead, she treats her underground activities as a nascent capitalist venture, even dismissing the death of one of her clients the way a coal baron might reports of cave-in fatalities. She rationalizes her mercenary actions as supporting her children, as indeed any impoverished mother reduced to scrounging the countryside for edible nettles would. But after her “business” makes enough money to reliably stuff her children with jam crackers, to finance a move to a better apartment, to afford a lover, and to hire a full-time nanny/part-time abortionist assistant so she can spend her days dancing and having singing lessons, we start to suspect that this was always about her wants and desires first and foremost. This isn’t a critique and it’s certainly not a moral condemnation; it’s an observation of Chabrol’s depiction of Marie’s plight to obtain wealth and social position while under foreign occupation. So what then is Marie a martyr for? For that one must look to the opening scene: after Marie feeds her children scavenged food, she puts them to bed, chastises her son for wanting more attention, says that “she’s too young to not have fun,” and goes out drinking and dancing with her friends. Marie, then, is a martyr for a woman’s right to put aside their duty as mother, wife, and daughter and live selfishly for themselves, even in the midst of hardship. It’s a personal autonomy many women are cheated of through social custom and biological necessity. Consider one of Marie’s clients, an exhausted mother pregnant with her seventh consecutive child. She confesses that she hates her children and being forced to be bloated and sick nine months of every year. Indeed, she says that she’d rather die than have another. So Marie lives the good life so many other women can’t, spurning her shellshocked POW husband and making her children play in the street while she performs abortions and rents her rooms to prostitutes. For even during wartime, Chabrol argues, women have a right to live for themselves.

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  • Viktor Kolar
    From “Mala Strana” series
    Prague 1988

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    Child’s Play (1988)


    Dir. Tom Holland


    •Catherine Hicks, Chris Sarandon, Alex Vincent•

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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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    #biden #bernie vs biden #never biden#joe biden #know your joe #us politics#politics#1987#2020#1988 #2020 presidential primary #primaries#primary election#democratic primary #democratic presidential primary #primary 2020#dem primary #2020 democratic presidential primary #sloppy joe
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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  • となりのトトロ (My Neighbor Totoro, 1988)

    #My Neighbor Totoro #1980s#1988#Film#hayao miyazaki
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