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hales
talk to me about art
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hales 3 h
Odgovor korisniku/ci @thesublemon
i got this with my original write-up of the movie, but i love that the axe-murderer is a separate person from suzy. he is the horror she is terrified of and doesn't want to admit to wanting, but that she thinks will liberate her too.
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hales 3 h
Odgovor korisniku/ci @thesublemon
and maybe justifiably? maybe it's good that your life (and society) is boring and stable. but that doesn't mean that impulses towards the sheer excitement of destruction go away.
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hales 3 h
Odgovor korisniku/ci @thesublemon
that feeling of not wanting to admit you just want something to HAPPEN, even if the thing that happens is violent and awful. it's almost like a meta-commentary on mumblecore as a genre. "you keep on depicting this navel-gazing ennui because you're afraid of not-ennui."
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hales 3 h
rewatched 'entrance' (2012) last night. still a very good movie, in that unexpected sort of way. it captures that feeling of being bored in your life and wanting a change but also not wanting to be responsible for that change.
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hales 22 h
2011-2012 was actually a pretty damn solid little period for movies
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hales 2. velj
Odgovor korisniku/ci @thesublemon
also, ever since i read bouissac's explanation of the "auguste"/"whiteface" dyad (which i was somehow totally unfamiliar with), i've been seeing it everywhere. the unkempt, childish fool and the haughty, composed aristocrat, who reveal social dynamics by playing off of each other
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hales 2. velj
Odgovor korisniku/ci @thesublemon
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hales 2. velj
Odgovor korisniku/ci @dys_morphia
that definitely sounds like it fits, i'll have to check it out
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hales 2. velj
Odgovor korisniku/ci @thesublemon
this one struck me as key. in terms of what the point of a lot of humor, but especially clown humor, is. by being an idiot about rules and logic, you reveal the rules and logic.
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hales 2. velj
random book rec: "the semiotics of clowns and clowning," which has been giving me many great insights about the history and structure of humor.
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hales 1. velj
Odgovor korisniku/ci @thesublemon
('calmos' is about two men escaping marriage and is also possibly the most gleefully misogynistic movie ever made)
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hales 1. velj
'calmos'/'thelma and louise' double feature for maximum whiplash
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hales 24. sij
“to sleep with anger” and “the cat in the hat” as vampire stories. stories about inviting a resource-draining force for chaos into your home. what are other examples?
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hales 24. sij
Odgovor korisniku/ci @vgr
i think we're circling around a couple different versions of "big mood shift that changes the understanding of a story" basically
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hales 24. sij
Odgovor korisniku/ci @vgr
hm. this is maybe why i don’t count most context-changing twists, like those in a lot of shyamalan’s work, as examples of whatever this artistic tactic is. because a context change doesn't usually release tension. it changes the story, which changes what the tension even is.
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hales 24. sij
Odgovor korisniku/ci @vgr
it's a statement, maybe, on what the central tension of the work was all along. what boil the work was trying to lance.
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hales 24. sij
Odgovor korisniku/ci @vgr
with you on these things increasing meaningfulness…not sure i’d agree the cause is raised stakes though. perhaps in some cases. i think it’s the sheer *bigness* of the gesture that creates meaning. bigness is an inherently strong signal that something is being said.
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hales 24. sij
Odgovor korisniku/ci @vgr
agree, the extra feint sets it apart. this movie might fit the genre fake-out bill. it plays as an indie 'guy goes to europe to find himself, meets an intriguing girl' thing at first, until the abrupt body horror.
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hales 24. sij
Odgovor korisniku/ci @vgr
though yeah...in terms of an unexpected genre mood shift, 'the matrix' *is* something slightly to the left of that.
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hales 24. sij
Odgovor korisniku/ci @vgr
probably a common feature of wizard of oz/alice in wonderland type stories. stories where there's an abrupt change between two worlds with very different moods.
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