“Ah, the good ol’ days when the impact of a falling safe either meant being driven into the ground like a tent stake, or a complete accordionization of the body.”
— Stefan Dollak
Implied in every disaster movie is “starting over”, but starting over isn’t the consequence, but the premise: “In order to start over and do it right this time, we need a catastrophe.”
— The Last Psychiatrist, on Contagion
(gif by Uno Moralez)
that was from Mister Eden, wasn’t it
(via naomijade)
Rule #1 of stupid people trying to make sense of the world: the culture you know nothing about has all the answers.
![[J]ust as our dreams are composite images of material from our unconscious made visible, our pop stars are constructs pulling together material from a kind of collective unconscious, the actualization of social desire.
— Trevor Link, “Pop Utopianism: a Manifesto”
Link argues for K-pop (and good pop music, generally) as a laboratory that synthesizes uninhibited pleasure and total happiness, as a mechanism that allows us to glimpse the distance between happiness and everyday work/leisure. At the end of the post, he has assembled a mixtape of 23 K-pop songs, which you might like to DL whether or not the theory has convinced you. My favourites so far are 2NE1’s “I Am the Best” and Super Junior’s “Sorry Sorry”, which both use the word naega (“I”) as punctuation the way American rappers say nigga, one of those serendipities that make me believe in Satan.
(photograph by Sandra Ciampone)](http://27.media.tumblr.com/tumblr_lxzv32kzJW1qzo7eeo1_500.jpg)
[J]ust as our dreams are composite images of material from our unconscious made visible, our pop stars are constructs pulling together material from a kind of collective unconscious, the actualization of social desire.
— Trevor Link, “Pop Utopianism: a Manifesto”
Link argues for K-pop (and good pop music, generally) as a laboratory that synthesizes uninhibited pleasure and total happiness, as a mechanism that allows us to glimpse the distance between happiness and everyday work/leisure. At the end of the post, he has assembled a mixtape of 23 K-pop songs, which you might like to DL whether or not the theory has convinced you. My favourites so far are 2NE1’s “I Am the Best” and Super Junior’s “Sorry Sorry”, which both use the word naega (“I”) as punctuation the way American rappers say nigga, one of those serendipities that make me believe in Satan.
(photograph by Sandra Ciampone)
‘Sincere’, for example, is a word we should avoid. The real question is what makes a thing sound sincere or not.
— C.S. Lewis, “On Criticism”
(Venus #19 cover by Bill Everett, Apr 1952, via The Horrors of It All)
I will try, but you must not believe all that authors tell you about how they wrote their books. This is not because they mean to tell lies. It is because a man writing a story is too excited about the story itself to sit back and notice how he is doing it. In fact, that might stop the works; just as, if you start thinking about how you tie your tie, the next thing is that you find you can’t tie it.
— C.S. Lewis, excerpt from “It All Began with a Picture …” (current mood: hyper)
(picture by Space Station Nathan after Roger Hane)
Her unceremonious ________ in Drive proves she’s game. Can’t think of anyone I’d rather see get Trierrified next … hmm hmm hmm hmm …… Halle Berry … Hermione Granger … Winslet … James Franco … !?
excerpt from interview w/ Lars von Trier by Chris Heath in GQ:
After working with Trier, Björk declared that she would never make another movie. “Fundamentally,” says Trier, “it was a problem that both of us, normally with things, we got it our way, where we decided as a dictator over a product. She was used to doing that and I was used to doing that…” Things started off badly. Trier says she was 24 hours late for their first meeting, explaining that she had just had to go at the last minute to a party on a Greek island via private jet as if there was no way someone wouldn’t understand that. “She said it with such pleasure—it was such a wonderful thing. And straightaway I said to her ‘Can’t you see why this will never work?’”
I was talking to a friend about it recently and I told him that the thing about making that film that upset me most was how cruel Lars is to the woman he is working with. Not that I can’t take it, because I’m pretty tough and completely capable of defending myself, but because my ideals of the ultimate creator were shattered. And my friend said, “What did you expect? All major directors are ‘sexist’, a maker is not necessarily an expert in human rights or female/male equality!”
My answer was that you can take quite sexist film directors like Woody Allen or Stanley Kubrick and still they are the one[s] that provide the soul to their movies. In Lars von Trier’s case it is not so and he knows it. He needs a female to provide his work soul. And he envies them and hates them for it. So he has to destroy them during the filming. And hide the evidence. What saves him as an artist, though, is that he is so painfully honest that even though he will manage to cover up his crime in the “real” world (he is a genius to set things up that everybody thinks it is just his female-actress-at-the-moment[’s] imagination, that she is just hysterical or pre-menstrual), his films become a documentation of this “soul-robbery”.
— Björk
