- About Me :
- we are a nutrient extracting tube with some intelligence attached
Hichichichy be back in a sec,
Zippy zippa zappa gonna spend your whole cheque,
- Location :
- original sin, kollide-a-skopic ferrera chatters, schwarzwald owl caves, you know-- the usual haunts.
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- 279 Tags
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- May 08 2011
textured | Shared With: Everyone - May 08 2011
hey al, if you are discussing katrina, here is another thing to look at:
"Race further complicates the ways in which gender violence unfolds in our communities. In “Looking for Common Ground: Relief Work in Post-Katrina New Orleans as an American Parable of Race and Gender Violence,” Rachel Luft explores the disturbing pattern of sexual assault against white female volunteers by white male volunteers doing rebuilding work in the Upper Ninth Ward in 2006. She points out how Common Ground failed to address white men’s assaults on their co-organizers and instead shifted the blame to the surrounding Black community, warning white women activists that they needed to be careful because New Orleans was a dangerous place. Ultimately it proved easier to criminalize Black men from the neighborhood than to acknowledge that white women and transgender organizers were most likely to be assaulted by white men they worked with."
- textured | Shared With: Everyone - Apr 07 2011
B&T3 IS COMING
- textured | Shared With: Everyone - Mar 26 2011
Director Gosha's "Japanese Godfather", ONIMASA is a deliriously swooning big-budget Yakuza drama laced with irreconcilable contradictions. Samurai codes are grafted upon the Yakuza. Capitalism butts up against Communism. And nascent Feminism undercuts the death wish of the death-wishing males.
Hideo Gosha had already mastered both the revisionist Samurai film (with such classics as GOYOKIN and the utterly amazing HITOKIRI) and the post-modern honour-less Yakuza film (the arty, cynical THE WOLVES and the viciously beyond-cynical VIOLENT STREETS). ONIMASA is the first film in his filmography uncomfortably expressing - in gorgeously cinematic terms - the very impossibility of a happy existence within closed systems, traps anathema to the recklessly heroic - still-romanticized into possible freedom - angrily defiant characters of his previous films. Tatsuya Nakadai stars, perfectly capturing this torpor with his signature blank anti-shock un-reactions.
If HITOKIRI is the pinnacle of Gosha's revisionist success (and one of the best Japanese films, if not beyond, ever, in my opinion), ONIMASA inaugurates a new phase and orientation in his work: arty arthouse drama on the surface, thematically messy conundrums beneath.
In Japan, this is Gosha's best-known, most popularly-revered work.
- textured | Shared With: Everyone - Mar 24 2011 | the, to, in
picking this up next time i am at powells.
- textured | Shared With: Everyone - Mar 23 2011 | movies
just watched "the road" film adaptation.
it amazes me how little criticism of the basic scenario there is. except for the poster in this thread. i added my comments as well, last post.
- textured | Shared With: Everyone - Mar 19 2011
you cannot unsee this. 1 part heavy metal. 1 part salvador dali. 1 part japanese wtf.
- textured | Shared With: Everyone - Mar 18 2011
hmm.. 1hr of SMBC, check! my to-do list is half finished.
- textured | Shared With: Everyone - Mar 18 2011
- textured | Shared With: Everyone - Mar 18 2011
- textured | Shared With: Everyone - Mar 18 2011
