#miss vida boheme

[cinemaworm]

Some men need to be hit back!

To Wong Foo, Thanks for Everything! Julie Newmar (1995) / dir. Beeban Kidron

Mama Vida tell him!

#YESS MAAM #my gifs #one messed up idk why #to wong foo thanks for everything julie newmar #patrick swayze #wesley snipes #john leguizamo #90’s films #90’s #90’s scenes #movies scenes #lgbt #pride month #happy pride month #movie scenes #films #films on tumblr #movie edits #miss vida boheme #noxeema jackson

[branwyn-says]

A year ago, my girlfriend showed me To Wong Foo, Thanks For Everything, Julie Newmar, and she said I had Miss Vida Boheme energy, and that's how I acquired a role model. And the model for my latest flower person. Miss Vida is a carnation.

#flower people #to wong foo thanks for everything julie newmar #miss vida boheme #journal art

[fishy-lava]

just watched To Wong Foo, Thanks For Everything! Julie Newmar for the first time and I am experiencing Trans Emotions and outfit envy

#i WISH i was Miss Vida Boheme #god i love her #the GENDER ENVY patrick swayze in drag gives me is INTENSE #like fuck dude #this movie is so very gender and im gonna cry #To Wong Foo Thanks For Everything Julie Newmar

[theshippirate22]

GO au where Nanny Ashtoreth Miss Vida Boheme’s her way into Harriet Dowling’s life after finding out she’s being abused and the elaborate multi-national-nanny-situation is to keep Warlock out of it and they become really good friends because of it. After Warlock gets too old for a nanny, Crowley and Harriet stay in touch because Crowley really did love that bratty kid and Ashtoreth (her first name is Marjorie) was Harriet’s only real friend. They eventually even made a pact that when Harriet decided to leave Thaddeus, Marjorie would help her with all of it, and they could even live together if it came down to it.

Only for post-divorce Crowley to get a call that he thinks is going to be the fated “i’m taking the end tables and the kid” conversation but it’s actually a sobbing eighteen-year-old Warlock telling him that Harriet’s dead, she’s dead, Nanny, shes dead, i don’t know what to-“

and Marjorie comes back to mourn her only real human friend with her pseudo-son who’s much too old to be sitting in her lap bawling, but he’s doing it anyway and she’s holding him and keeping it together because that’s what he needs and after the funeral she takes him back to her flat so he doesn’t have to grieve alone and only then, when Warlock is asleep in the other room, taken care of and fairly contented, that she’ll find herself on the floor of the shower, shaking, rinsing away the trails of mascara and eyeliner that pooled at the bottom of her glasses and the horrendous pink lipstick and the semi-permanent curl to her hair and it’ll just be Crowley, who doesn’t have the love of his life OR his best friend and everything feels too heavy to bear and there’s tears he didn’t know he had left streaming down his face and the next thing he knows, the water shuts off and it’s just him and his wheezy breath but there’s a warm hand on his back, and look at that.

It’s Aziraphale, kneeling just next to the tub, looking at him with the solidarity of perfect understanding. All he says is, “I heard about Harriet,” and Crowley relapses instantly into sobs, leaning into him for support and Aziraphale accepts the whole soaking armful of him and holds him until he’s got nothing left and eventually, he’ll haul him out of tub and dry him off and get him to bed and hold him still while he sleeps of the emotional exhaustion that is grief, but for now…

For now, there was just them, and there may have been love between them once and it may or may not still be there now, but they don’t have the time to look into that, and it doesn’t matter anyway because there is something and it might just be the intimacy of empathy or the silent, complete understanding but there’s comfort and safety in familiarity so every guarded cell in Crowley’s body won’t fight the way Aziraphale’s breath feels on his temples

And when Warlock wakes up to breakfast made by a familiar man with white curls and blue eyes, he’ll burst into tears all over again at the softness and safety and he won’t have time to question the fact that Marjorie is also Anthony because all he knows is the both of them are sitting at the table sobbing over the same woman and it’s the very, well

It’s very Human.

#good omens #ineffable husbands #warlock dowling #nanny ashtoreth #ficlet #fic idea #angst #hurt/comfort

[gay-poet-gabriel]

some miss vida boheme i drew in class

#vida boheme #to wong foo thanks for everything julie newmar #my doodles #my art #fanart #patrick swayze #MY MAMA

[horror-vampire]

thinking about "i love you, miss Vida Boheme" again

#this movie.... #to wong foo #movies

[more-than-tender-curiosity]

chester mckee 002? i wanna see your thoughts on him

1. He’s so much fun to work with because we are given nothing except like pale, feminine, respectful, fucking disregards his wife, and (“possibly”) sleeps with nick. You can say anything about this guy. And I sure do.

2. In general I don’t tend to ship him with anyone because I think he’s in a complicated relationship with Lucille and Catherine (neither of which satisfy him), but in Ghosting [SPOILER] he’s of course with nick. And in the remix, he’s with nick and jay.

3. Non romantically I want to see this man in a room with Jordan making fun of nick until he cries. Okay maybe not that far but I think they’d bond over being nick’s unexpected exes.

4. He’s a ginger. I dont. Know. Why they always cast him as this beatle ass motherfucker. I have spoken about the hair color bs before at length. Real ones know

5. So originally the mckees were the beckers, and wise ones know that ‘the Chester Beckers’ are in nick’s list of people who show up at jay’s party the week of July 5th and are from east egg. Bullshit. Chester you and your girls put down a fake name and had a blast. So basically I wish nick ran into chester again, because that would be after they met. OooOoooOooooh.

6. I guess nick if jay’s unavailable, like in ghosting. I think they’re good foils for each other because in my head nick was raised strictly and Very Hetero but chester’s family was a much chiller group who let him be himself.

7. Like do you guys think I consume other media at this point? What do you want me to say. Johnny the gorilla from the Sing franchise? Miss Vida Boheme from to wong foo thanks for everything julie newmar? Chester’s on his own if he’s not banging his way around 1920s nyc 😔

8. Oh I done spilled a lot of headcanon already. Uh. Yeah. Just to sum up, ginger Chester’s in an uncomfortable poly Thing with lucille and catherine and who knows who else. Uh. Chester and Tom went at it once? What. I. I dont know.

#the great gatsby #chester mckee

[gatalentan]

i stg every three weeks i go through some totally disproportionate gender crisis over something completely innocuous. this week its wanting to buy heeled boots for the first time since my teens. like no you dumb bitch everyone already thinks you're a girl anyway literally why do you care. nobody's gonna gender you correctly for wearing flat boots because you're 4'-fucking-10". just buy them idiot you'll look hot and isn't that what we were all put on the earth to do? it's what elle woods would want. it's what miss vida boheme would want.

#i tell myself the point is that *i* will know i'm wearing them for faggoty reasons and that's the important thing

[fanboyswhore9]

And this is why I love Patrick Swayze

[mgmpluto]

To Wong Foo, Thanks for Everything, Julie Newmar (1995)

#gifcreatedbymgmpluto #patrick swayze #Miss Vida Boheme #Vida Boheme #To Wong Foo #to wong foo thanks for everything julie newmar #animated gif #gay humor #what in gay hell #gay hell #john leguizamo #ChiChi Rodriguez #Chi-Chi Rodriguez #Wesley Snipes #noxeema jackson #90's #gay gif #Julie Newmar

[a-wild-vulpix]

Hi sometimes I draw and today it was To Wong Foo fan art thanks.

#to wong foo #Miss Vida Boheme #patrick swayze #Vida Boheme #CLASSIC MOVIE #🖤🖤 #My Art #Traditional art

[mifunebooty]

Happy Birthday!!🎉

YES GET WITH THE POPPERS, THANK YOU!!!

#Cherry says #miss-vida-boheme #listening to kate bush like i wanted to do today! #just hoping the rest of the day is banging as im feeling

[chrisablesart]

Some late night doodling before bed. I present, Miss Vida Boheme. . #illustration #illustrator #artist #characterdesign #characterart #visdev #sketch #doddle #chrisablesart #towongfoo #towongfoothanksforeverythingjulienewmar https://www.instagram.com/p/B7p7GZNj_FW/?igshid=owo48e9d36ur

#illustration #illustrator #artist #characterdesign #characterart #visdev #sketch #doddle #chrisablesart #towongfoo #towongfoothanksforeverythingjulienewmar

[ethanchang21-blog1]

Discussion Group Presentation

To Wong Foo, Thanks for Everything! Julie Newmar (1995)

Summary:

After tying for first place in “Drag queen of the year” contest Noxeema Jackson and Vida Boheme bring aspiring “Drag Princess” Chi-Chi Rodriguez under their wing. Due to a lack of funds, both Noxeema and Vida sell their plane trickets to buy a convertible so they can bring Chi Chi to an even bigger contest called "Miss Drag Queen of America Pageant".

Cop scene:

The male gaze is objectifying

In Laura Mulvey’s “Visual Pleasure and Narrative Cinema” the main discussion was about how the male gaze was used to “objectify” women. Meaning that “women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact” (pg. 715). An example of how the male gaze captured this type of objectification can be found in the scene above where sheriff Dollard was trying to feel up Vida, imposing his sexual desires on her.

Abuse:

Next to desire is ego

According to Laura Mulvey the male gaze not only symbolizes desire, but can also represent the ego of a character. In the scene above, this time ego is what is being represented in Virgil (the husband). From his eyes, his ego is portrayed through Carol Ann (his wife) and as the movie progresses in one of the scenes it is revealed that he beats his wife. Through the scene where Vida walks in on Virgil beating Carol the “identification of the ego with the object on the screen” (pg. 715) can be seen clearly.

Suicide Squad (2016)

Summary:

With the world in dager due to a demonic witch known as the "Enchantress", Rick Flag needs to put together a team to take her on. Joining him are the very unlikely candidates Deadshot, Harleen Quinzel, Chato Santana, George "Digger" Harkness, Waylon Jones, and Christopher Weiss. It is up to them to use uncoventional methods to stop the “Enchantress”.

“I don’t want no beef”

According to Laura Mulvey she states, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story...”( pg. 716). This can be found in the clip above, it is seen that Harley quinn plays the role of more of a prop rather than character. In this scene she is offered to the crime boss as a “gift” signifying that she is an item that can be given and taken. She is called to a VIP room, and from the previous shot it is seen that she was working as a stripper.

The second level

The second level that Laura Mulvey states is “ and as erotic object for the spectator within the auditorium” (pg 716). This can be found in the clip above where the whole team was gearing up for the fight. The only part that was highlighted through cinematography was Harley Quinn is changing into her set outfit. This scene was completely not necessary, but was included for the spectator in a function called “fan service”. The male gaze was also prominent in this scene where literaly everyone in frame stopped to watch Harley change.

Discussion Questions:

1. If a man plays a women’s role in film, do they play the part of the active male or passive female?

2. In the first movie, even though they were men does that affect how they were looked at when dressed for “strong visual and erotic impact”?

3. In movies such as suicide squad and Transformers, without the blatant use of sexualizing the female characters would they be better?

#discussionleader #swampfilmanalysis

[talkingaboutfilms]

Discussion Leader Presentation

In “Visual Pleasure and Narrative Cinema”, Mulvey deconstructs the “male gaze” in film as a way to move forward in cinema. She argues that alternative cinema cannot come out of nothing, and therefore we need to examine movies as they exist now in order to showcase how current cinema reflects present society so that there can be radical change. She states that overall, Hollywood reflects the dominant ideology that is the patriarchy. Mainstreams films have integrated the erotic because of this dominant patriarchal ideology and in analyzing the pleasure, it can be destroyed. Because there is a separation of the screen and audience, we are spectators in the characters’ private worlds. As such, we watch the female characters as we identify with the main controlling character. Mulvey only delves into movies with male protagonists in her text, however acknowledges that the this idea can still carry over so the two movies that will be analyzed have main characters with unconventional circumstances regarding gender. 

To Wong Foo, Thanks for Everything! Julie Newmar (1995)

In, To Wong Foo, Thanks for Everything! Julie Newmar, the spectators follow three drag queens, Vida Boheme, Noxeema Jackson, and Chi-Chi Rodriguez in their trip from New York City to Los Angeles to participate in the “Miss Drag Queen of America Pageant”. Their car breaks down eventually and they are stuck in a rural town called Snydersville for a couple days. 

The idea of gender seems a little complicated as Noxeema differentiates early on in the movie that they are drag queens because they are gay man that have way too much fashion sense for one gender. However, after the beginning scene the three characters stay in their drag personas for the rest of the movie and use the pronouns she. Moreover Vida is extremely happy when one of her town friends later refer to her as a lady friend, and not a man. Nonetheless, the three queens present themselves as women the entire time. 

In the beginning of the film, there is a makeover sequence in which Vida and Noxeema transition into looking more feminine. Overall, the sequence gives off more of an empowering atmosphere because it is clear through the actor’s performance that these characters are transforming of their own volition. However, it is interesting to note, that with the use of close-ups, the more Vida and Noxeema present themselves as women through makeup and costume, the more intimate the camera gets with the shots of their body like their torso, lips, and boobs to indicate their womanly-ness. Mulvey talks about the erotic that is coded in our language of film, and here we can see how the director uses sexualization to show an association of transforming into a women. 

It is only the the transition that these kinds of choices are made with these two characters. The only character subjected to voyeuristic shots the rest of the movie is Chi-Chi, someone who flaunts their sexuality.

Chi-Chi does own her sexuality the entire film, but also seems to be the only one objectified by the camera as a result of this.  

With the exception of the beginning scene and the occasional scenes with Chi-Chi, the characters are filmed from a rather neutral standpoint. They take pride in themselves because that is who want to be. Their makeup and costumes are not for others, but rather for themselves. This is evident when Chi-Chi tries to call Vida out and implies that women are lesser since that is what Vida resorted to because she supposedly could not cut it as a man. 

The camera zooms onto her face when her wig is taken off. As spectators we get the sense that she ties herself to her outward appearance. On the opposite spectrum, there is Mulan that only transforms for others. 

Mulan (1998)

In Mulan, the spectators join Fa Mulan as she joins the army in place of her father. In doing so she gains physical skills and uses her brains to become a top soldier and saves all of China from the Huns. 

In the beginning of the movie, Mulan conforms for multiple men: her possible future husband and her father. She alters her outward appearance for the gaze of other characters within the movie. 

What is more interesting is how the movie alters her appearance for her when she is not needed for the gaze of someone else.

Her face shape changes and she no longer has eyelashes. This transformation is most of out place when she is outed as a women for the first time to the army. Since she is outed as a women, and therefore a potential object to be gazed upon her naked face appearance changes once more. 

Mulvey says that “the determining male gaze projects its fantasy to the female figure which is styled accordingly” and that the woman must be in the story although her visuals “tend to be against the development of a story line”.  Although, out of place in the story seeing as she would have no time to put on makeup and nearly escaped death. This physical transformation serves as a way to indicate that Mulan is now something that can be looked upon since she presents as a woman. When her hair is let down, the more prominent feminine features are even more exaggerated on her face. 

In the song “Girl Worth Fighting for”, the soldiers explain their ideal women. In doing so the visuals show conventionally beautiful, curvy, pale girls that idolize these men. The camera pans over a bunch of girls doing work as the men chorus sings “You can guess what we have missed the most, since we went off to war”. Not only that, when Mushu wolf whistles at the girls in the rice field, the reaction from the girls suggests that they enjoy it while Mulan looks embarrassed. 

The girls in the shot above look dainty even though they are doing taxing, agricultural work showing exactly the point of projecting a fantasy onto women.

Even if Mulan is not sexualized in a way, she is still being subjected to a certain type of “male gaze” because of the expectation her character is placed under in relation to other male characters in the cast. 

Discussion Questions 

1. How do you think the male gaze still applies or does not apply to movies with female protagonists, or all-female casts? 

2. Do you think it is more justifiable to objectify a character with the camera if they are proud of their sexuality? 

3. How do children’s films sexualize/objectify or do not sexualize/objectify women?

4. Does the depiction of gender fluidity in film change the power dynamic that is in place in order for the male gaze to be a reality? 

#swampfilmanalysis #discussionleader

[furiouscrusadeavenue]

Miss Vida Boheme.  “To Won Foo, Thanks for Everything. Julie Newmar”

#to won foo thanks for everything julie newmar #patrick swayze #best movies ever #Wesley Snipes #john leguizamo