drowning in my thoughts.
📸 by me.
"Of particular relevance for my purposes, many gay fanzines provide strong evidence of the prevalence of an objectifying eroticism in gay readings of male cinematic figures. Some gay fanzines in fact concentrate on nothing but the eroticization of the male cinematic image. Movie Buff Checklist, for example, is a gay zine devoted solely to listing and evaluating those films from the silent era to the present that contain representations of male nudity. The founding editor, Marvin Jones, describes this publication as an ‘‘erotic guide for all those moviegoers who secretly looked at Johnny Weissmuller or Steve Reeves with more than just emulative admiration in their hearts.’’ In a similar vein, another gay fanzine titled rates a wide range of male stars in explicitly erotic terms Superstars with entries such as the following on the contemporary male film star Rob Lowe: ‘‘We swooned at the brief glimpse of him at 19 as he emerged from the shower in The Outsiders. And at age 22 in his jockstrap in Youngblood discreetly covering his bulge, then the lingering shot of his oh so very ripe ass as he walks away.’’ Although such examples are admittedly prosaic, they attest to a sustained eroticization in gay spectatorial readings of the male cinematic image. They also suggest that, by placing the male image in such a different interpretive context, these processes of gay objectification radically rupture the traditional phallic semiotics of male cinematic representation.
The disorganizational impulses of queer objectifications of the cinematic male image are exemplified in a series of ‘‘film reviews’’ written by the late Boyd McDonald that originally appeared in North American gay fanzines in the eighties. These reviews proved to be so successful and generated such widespread interest that McDonald ‘‘graduated’’ to writing for more mainstream publications such as the gay magazine Christopher Street and the fashionably postmodern culture rag Art and Text. In many of his writings,McDonald engages in highly explicit erotic evaluations of the male image as it has been constructed in vintage and contemporary Hollywood films. He then uses these erotic ruminations to construct outrageously gay or otherwise aberrant readings of the various films under discussion. In a ‘‘review’’ of the 1936 film Mr. Deeds Goes to Town, for example, McDonald focuses almost solely on its male star, Gary Cooper, appraising his specular appeal with such references as, ‘‘He didn’t have a nice butt but didn’t need one, not with a face like that,’’ and engaging in highly erotic analyses of key scenes in the film, showing how, when read from a gay perspective, these scenes may be seen to ‘‘constitute a virtual comic sub-theme of cocksucking.’’ In a discussion of the Elvis Presley vehicle Love Me Tender (1956), McDonald constructs a perverse reading of the film that centers on a fantasized homosexual relationship between the Presley character and his on-screen brother played by Richard Egan, who, as McDonald sees it, ‘‘could not have remained insensitive to the beauty of Presley’s nose . . . of his full lips, of his mascara. . . and of his substantial and authoritative rear end’’.
McDonald is well aware of the transgressive dynamics of this brash style of queer erotic objectification, often playing on them to the point at which his writing assumes the status of an aggressive assault on the phallic male image."
Brett Farmer, Spectacular Passions: Cinema, Fantasy, Gay Male Spectatorships
San Andreas 2 Updates: Alexandra says Will The Sequel Happen? . As Daddario points up, it's normal for a likely sequel of enter development and go the extent that finishing an early draft of a content, just to burn out later on.
Arturus, ~15 ans, a une amoureuse qui est séquestrée et physiquement maltraitée par une propriétaire (?) tyrannique. Lorsqu’il essaie de la sortir de là, Shedda referme la porte de la cage, trop terrorisée pour s’enfuir. Plus tard, avant qu’Arthurus quitte définitivement la Maurétanie, il revient pour tuer la tortionnaire. Il n’a pas pu emmener son amoureuse avec lui, alors il la débarrasse de ce qui la retient prisonnière pour qu’elle puisse quand même être libre, plus tard.
Arthur, ~45 ans, retrouve Guenièvre après qu’elle a passé 10 ans seule séquestrée dans une tour, maltraitée psychologiquement par le tyrannique Lancelot. Sauf que cette fois-ci, l’amoureuse d’Arthur ne demande que ça, de s’enfuir. Ils quittent la Tour de Ban ensemble. Arthur s’en fout du Royaume, de la quête du Graal donc il décide de ne pas tuer Lancelot. De plus, Guenièvre n’est plus prisonnière et a rejoint Arthur de son plein gré, qui n’a donc pas besoin de tuer un tyran pour sauver ou venger celle qu’il aime. Mais il est malgré tout hanté par ses souvenirs de ce que Furadja a fait, à savoir maltraiter une personne qu’il aimait, et il hésite, parce que logiquement Lancelot mériterait le même sort.
Mais Arthur sait que les circonstances ne sont pas les mêmes, qu’il n’est plus un adolescent anonyme, mais un symbole d’espoir et de bonté pour le peuple de Logres, et que penserait ce peuple si le Bon Roi Arthur reprenait le pouvoir par un assassinat ? Il n’est pas si détaché qu’il le prétend. De plus, contrairement à Furadja, en cet instant précis, Lancelot n’est plus une menace à sa vie. Il est à terre, aussi désemparé et inoffensif qu’une tortue renversée, et attend, espère peut-être même, le coup fatal d’Arthur, qui se décide enfin : il laisse l’autre partir.
The Girl In the Cafe – Film Review
A charmingly modest and understated movie about an unlikely relationship that starts off as a conventional meet-cute and then goes somewhere unexpected. Continue reading
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Trois extraits 🎬 de films
[T:TIME] TXT's Yeonjun and Taehyun's Peaches MV (투모로우바이투게더)
Hello, hello! The Plot (according to RT): This disturbing Japanese thriller follows Aoyama (Ryo Ishibashi), a widower who decides to start dating again. Aided by a film-producer friend (Jun Kunimura), Aoyama uses auditions for a fake production to function as a dating service. When Aoyama becomes intrigued by the withdrawn, gorgeous Asami (Eihi Shiina), they begin a relationship. However, he…
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"Dear Comrades!" is about the Soviet state's response to a spontaneous strike of factory workers in a Russian city in 1962. The people were shot at, the survivors were arrested by the KGB, and the rest of the city inhabitants had to sign non-disclosure papers stating that none of the above had ever happened. The blood-stained square was promptly covered with new asphalt and in the evening the authorities organized a massive celebration with happy music and dancing on top of the freshly disguised blood puddles.
The main character, a female Party apparatchik Lydmila, has her doubts in private, but publicly she believes that the repressions and atrocities must continue, because otherwise it would mean that all the previous repressions and atrocities had been in vain, and such a thing would be too terrible to imagine. As a result, like many other Communists, she has a tortured, disfigured mind, trapped within the narrow dogmatic constraints like a fly between two window panes. Her hypocritical faith in the system is tested when her own freethinking daughter goes missing. - Oleg Atbashian