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Monday, July 7th
11:39am

(via garconniere)

735 notes

garconniere:

grofjardanhazy:

shihlun:

Samuel Beckett observing cat, dog and parrot. 1964.

Photograph by Steve Schapiro.

While he was waiting for Godot

If I’m not mistaken, this was during the shooting of Beckett’s 1965 Film with none other than Buster Keaton. Yes, the title is Film. More here.

Saturday, July 5th
8:00am

(via visualtraining)

42 notes

visualtraining:

31/75: Asyl (1975, Kurt Kren)

Friday, July 4th
4:00pm

(via visualtraining)

25 notes

visualtraining:

Beneath the Skin (1981, Cecelia Condit)

8:00am

(via giallolooks)

93 notes

giallolooks:

Yolanda (1981, George Kuchar)

Thursday, July 3rd
4:00pm

(via ateliertovar)

259 notes

bigleblogski:

"I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember. We rewrite memory much as history is rewritten. How can one remember thirst?"

Sans Soleil (1983) Chris Marker

Wednesday, July 2nd
10:53am

1 note

hierophage said: BEAUTIFUL PERSON AWARD! Once you are given this award, you are supposed to paste it in the ask of 8 people who deserve it. If you break the chain, nothing will happen, but it’s sweet to know someone thinks you’re beautiful inside and out ♥ :D

8:00am

(via sylvides)

80 notes

saloandseverine:

Kustom Kar Kommandos, Kenneth Anger, 1965

Tuesday, July 1st
5:34pm

(via absolvd)

12,200 notes
clotair:

Blue (dir. Derek Jarman, 1993)

clotair:

Blue (dir. Derek Jarman, 1993)

12:37pm

(via giallolooks)

36 notes

giallolooks:

Mayhem | Abigail Child (1987)

Mayhem focuses on film noir, teasing apart its complex threads of sexuality and violence, narrative and voyeurism. Drawing on a rich collection of archival footage and historical materials, Child fragments and intercuts sequences to confuse and disorder contemporary regimes of gender and sexuality, playing up the troubling interpenetration of male and female (and heterosexual and homosexual) desire embedded in her dizzying array of borrowed and recreated materials.

As film scholar Madeline Leskin has noted, “Mayhem meticulously employs the language of noir: the lighting, the camera angles, even the latent sadism, but takes noir to the next level by drawing the connections between sex and violence.” With its frenzied cataloguing of allusive glances, awkward pursuits, disguised identities and threatened poses, all forced into a breathless pitch, Child’s film suggests a world in which such melodramatic gestures, while full of meaning, do not lend themselves to any sure decoding. Instead, they form an endless series of detours and diversions, disruptions and deviations, as their intimations of violence and suspense take on delayed impacts, detonating at different moments within the film instead of setting up linear continuities of cause and effect.

Liz Kotz, “Complicity: Women Artists Investigating Masculinity”

(Source: certifiedshawty)

Monday, June 30th
3:58pm

(via keyframedaily)

145 notes
keyframedaily:

Harmony Korine: Are there things that you’ve dreamed that have ended up in your films?
Kenneth Anger: I wish. But my dreams are, like, big budget, and my movies are small budget. 

keyframedaily:

Harmony Korine: Are there things that you’ve dreamed that have ended up in your films?

Kenneth Anger: I wish. But my dreams are, like, big budget, and my movies are small budget. 

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