prettyshuaiforawhiteguy

[prettyshuaiforawhiteguy]

Decaying city made from bread by Johanna Mårtensson.

[prettyshuaiforawhiteguy]

DaPoorlySocializedPervert messages you: Hey.

[prettyshuaiforawhiteguy]

[prettyshuaiforawhiteguy]

[prettyshuaiforawhiteguy]

Who was in the wrong here

[prettyshuaiforawhiteguy]

Tokyo Sonata (2008)

Director - Kiyoshi Kurosawa, Cinematography - Akiko Ashizawa

"When you think about it, we're like a slowly sinking ship. The lifeboats are long gone...the water's up to our mouths. We know it's hopeless, but we're still looking for an exit. But we don't have the courage to dive underwater, either."

[prettyshuaiforawhiteguy]

[prettyshuaiforawhiteguy]

Tokyo Sonata, dir. Kiyoshi Kurosawa // The Unbearable Lightness of Being, Milan Kundera (trans. Michael Henry Heim)

[prettyshuaiforawhiteguy]

Tokyo Sonata (2008)

[prettyshuaiforawhiteguy]

This is insane

[prettyshuaiforawhiteguy]

tfw u used to be a thot but it's been so long you feel more like a memory :(

#thots

[prettyshuaiforawhiteguy]

[prettyshuaiforawhiteguy]

Crawford Barton, Untitled (Golden Gate Bridge), 1970's

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Maison Margiela Haute Couture Fall/Winter 2010/2011

[prettyshuaiforawhiteguy]

Theodoros Angelopoulos: ‘Landscape in the Mist’ (1988)

[prettyshuaiforawhiteguy]

Mario Savio giving a speech at Berkeley in 1964 during an occupation of the university.

I mistakenly labeled this as an occupation and speech against the Vietnam war. It was in fact an occupation by the Free Speech Movement, who objected to attacks on free speech and academic freedom during the cold war, when "radical" student groups were banned and faculty had to swear an anti-Communist loyalty oath or be fired. Students objected to universities being used as a source of knowledge and innovation for the military industrial complex but not being allowed to speak their minds that, which does have a lot of parallels with the current occupations.

There's a time when the operation of the machine becomes so odious, makes you so sick at heart that you can't take part! You can't even passively take part! And you've got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus -- and you've got to make it stop! And you've got to indicate to the people who run it, to the people who own it -- that unless you're free the machine will be prevented from working at all!!

[prettyshuaiforawhiteguy]

Cronenberg: The film works on such a non-literal level that it’s really irrelevant. What Ballard is saying is not that car crashes are sexy. It’s that there is a deeply hidden erotic element to the event of the car crash. I believe that is true, and that is what we are talking about in the movie. But it’s so difficult for people to get their head around it. Somebody will say, “I’ve been in a car crash, and it’s not sexy.” I heard of this psychiatrist who said, “Yeah, I deal with one of these guys every week. He seeks them out [car crashes] and stands around and gets sexually aroused.” To me this has almost nothing to do with the movie, bizarrely enough. The movie has more to do with the relationship between sex and death — the fact that when we are endangered physically we are also aroused sexually. There’s a very old primordial trigger: members of your species are dying, so you should become sexy so you can mate and procreate. Sex and death. Thanatos and Eros. Understood for thousands of years — not by UK journalists, mind you. It’s a very complex interrelationship. On that level — mortality and death — you find the meaning that makes sense in the movie.