pitbull:

Who wants to live here 

pitbull:

Who wants to live here 

(via dtownsteez)

Scenery from The Wiz (1978)

(Source: filmchrist, via jalylah)

coeursfideles:

i was reading an article on french postcolonial cinema and there was an argument made that while a film can be racist, imperialist-nostalgic trash which privileges the white french person, you can’t deny the importance of the audience. e.g. indochine is a shit movie in every way possible but diasporic audience might (and did) appreciate the presence of linh dan pham.

to me that’s ridiculous. i mean, i’m not beyond latching onto a single woman of colour in an otherwise racist film. but i just can’t accept that my own, or an audience’s own, oppositional reading of a film can recuperate it from its racism, and from the racism that it generates or accepts within a larger dominant discourse.

like, i love josephine baker. and when i watch her films i’m definitely not doing it in the right/white way. i’m not seeing her as an exotic object who needs to make way for the white woman in the white man’s life; instead i appreciate her artistry, her glamour, her talent. i’m not watching zouzou for the plot so much as the point of identification it might provide and the glorification of baker that it does provide. but i’m not going to act like she wasn’t forced to exploit colonial stereotypes for a white gaze in order to be successful. or i’m not going to act like anna may wong playing innumerable “lotus blossom”s was empowering. it’s something to be able to see someone like you one screen, who is beautiful and glamourous and maybe fleetingly is loved, but it’s still hardly anything.

personal, oppositional readings and reclamations of films are very important. but they do not negate how the film was or is still read within a white supremacist society that thrives on the racism and colonialism that makes these films possible.

(via filmantidote)

boundtothewater:

scaredystark:

sirdef:

yesilostmymind:

sirdef:

comic book artists who draw nipples on female costumes need to be fired i’m 100% serious

I’m confused, why do they need to be fired? what’s wrong with nipples?

perhaps i didn’t make my original statement clear- it is weirdly worded. my problem is not with nipples, but with nipples being drawn on costumes, through layers of spandex or armor. this contributes to hypersexualization of women in comics.

Armor nipple don’t make sense unless I’m getting full people is outlines in every uniform

I wanna see every wrinkle on captain america’s freedom fry

seriously dicks show through jeans all the time and if they show through sturdy denim they’d fucking definitely show through spandex

unless every dude superhero is wearing a cup

i can see some SOME dude heroes wearing cups, but ALL OF THEM? hell no.

is this about harry styles

David Morales:

Frankie’s memorial service was emotionally special. To have his friends, family and the Governor speak about Frankie goes to show the impact he has had on people. You know you’re a TRUE LEGEND when u get one of these….

David Morales:

Frankie’s memorial service was emotionally special. To have his friends, family and the Governor speak about Frankie goes to show the impact he has had on people. You know you’re a TRUE LEGEND when u get one of these….

mizoguchi:

Pedro Costa - State of the World (x)

I think this whole video is great but this particular section really caught my eye and really speaks to how Costa undermines the auteur label. It’s clear that he wants to show his own vision but one that is alignment with the subjects he films. It’s almost a ‘(largely) by the people, with the people, for the people’ mentality that takes into account the realities and truths of the impoverished, marginalized communities he films in Portugal. What Costa expresses above is very important because most white westerner filmmakers tend to view cinematic creation ultimately at their hands and can be molded how they want no matter what the cost to the subjects and communities and groups affected by such depictions. 

I interpret the beginning of the excerpt of him creating the initial vision but in a bare outline and is largely controlled by the people who are in the film. The closest most known director who does the same is Jorge Sanjinés. In my opinion, Costa’s the only contemporary well-known white European filmmaker aside from Claire Denis who can actually make honest depictions of marginalized communities. And what I mean by that term is the colonized and descendants of the colonized (such as immigrants who come to Europe). In the case of Costa, he depicts immigrants from Cape Verde, which is a former colony of Portugal as well as inhabitants of Cape Verde like in Casa de Lava

Honestly..kind of shame that he does so few films? But it’s also kind of great because every time he releases a new film every 5+ years it’s a masterpiece in so many ways.

(via filmantidote)

btw i have allergy-tinnitus right now and it SUCKS.

duhdoydorothy:

today i offer you a sass selfie titled “thesis completion and new sunglasses”

duhdoydorothy:

today i offer you a sass selfie titled “thesis completion and new sunglasses”

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