#The Carpenters Space Encounters 1978
Text
599 notes
·
View notes
Text
9 notes
·
View notes
Text
"Dancing in the Street"
Original by Martha and the Vandellas
Covered by the Carpenters
0 notes
Text
The Movie List
Hi all,
As promised, here’s the list. Once a movie has been reviewed, I’ll turn the movie into a link to the review on this list. Any movie we can’t find will be marked with a cross through. There were double ups in the categories, movies being listed twice, so I’ve only let them be in the first category they show up in (Hence why there isn’t 100 movies in the fourth category). The list is below:
1. GENRE
Action-Aventure
The Mark of Zorro (Fred Niblo, 1920)
The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)
The Seven Samurai (Akira Kurosawa, 1954)
Top Gun (Tony Scott, 1986)
Lethal Weapon (Richard Donner, 1987)
Thelma and Louise (Ridley Scott, 1991)
Mission: Impossible (Brian De Palma, 1996)
Kill Bill: Volume 1 (Quentin Tarantino, 2003)
Animation
Steamboat Willie (Ub Iwerks, 1928)
Snow White and the Seven Dwarfs (David Hand and William Cottrell, 1937)
Pinocchio (Ben Sharpsteen and Hamilton Luske, 1940)
Yellow Submarine (George Dunning, 1968)
Akira (Katsuhiro Otomo, 1988)
Toy Story (John Lasseter, 1995)
Spirited Away (Hayat Miyazaki, 2001)
Belleville Rendez-vous (Sylvain Chomet, 2003)
Wallace and Gromit: The Curse of the Were-Rabbit (Steve Box and Nick Park, 2005)
Wall-E (Andrew Stanton, 2008)
Up (Pete Docter and Bob Peterson, 2009)
How To Train Your Dragon (Chris Sanders and Dean DeBlois, 2010)
Avante-Garde
L’Inhumaine (Marcel L’Herbier, 1924)
Un Chien Andalou (Luis Bunuel, 1929)
L’Age d’Or (Luis Bunuel, 1930)
Biopic
Young Mr. Lincoln (John Ford, 1939)
Gandhi (Richard Attenborough, 1982)
A Beautiful Mind (Ron Howard, 2001)
The Aviator (Martin Scorsese, 2004)
Ray (Taylor Hackford, 2004)
The Last King of Scotland (Kevin Macdonald, 2006)
Milk (Gus Van Sant, 2008)
Comedy
The General (Clyde Bruckman and Buster Keaton, 1927)
Duck Soup (Leo McCarey, 1933)
His Girl Friday (Howard Hawks, 1940)
The Ladykillers (Alexander Mackendrick, 1955)
The Pink Panther (Blake Edwards, 1963)
Annie Hall (Woody Allen, 1977)
Airplane! (Jim Abrahams, David Zucker, and Jerry Zucker, 1980)
Four Weddings and a Funeral (Mike Newell, 1994)
The Full Monty (Peter Cattaneo, 1997)
Meet the Parents (Jay Roach, 2000)
Bridget Jone’s Diary (Sharon Maguire, 2001)
The Devil Wears Prada (David Frankel, 2006)
Costume Drama
Jezebel (William Wyler, 1938)
Les Enfants du Paradis (Marcel Carne, 1945)
Senso (Luchino Visconti, 1954)
Barry Lyndon (Stanley Kubrick, 1975)
Dangerous Liaisons (Stephen Frears, 1988)
Howards End (James Ivory, 1992)
Sense and Sensibility (Ang Lee, 1995)
Bright Star (Jane Campion, 2009)
Cult
Plan 9 from Outer Space (Edward D. Wood, 1958)
Faster, Pussycat! Kill! Kill! (Russ Meyer, 1965)
Pink Flamingos (John Waters, 1972)
The Wicker Man (Robin Hardy, 1973)
The Rocky Horror Picture Show (Jim Sharman, 1975)
Withnail and I (Bruce Robinson, 1987)
Fight Club (David Finch, 1999)
Disaster
Airport (George Seaton, 1970)
The Poseidon Adventure (Ronald Neame, 1972)
The Towering Inferno (John Guillermin, 1974)
Independence Day (Roland Emmerich, 1996)
Titanic (James Cameron, 1997)
Documentary
Man with a Movie Camera (Dziga Vertov, 1929)
Night and Fog (Alain Resnais, 1955)
Don’t Look Back (D.A. Pennebaker, 1967)
The Sorrow and the Pity (Marcel Ophuls, 1969)
Bowling for Columbine (Michael Moore, 2002)
Capturing the Friedmans (Andrew Jarecki, 2003)
The Story of the Weeping Camel (Byambasuren, Dava and Luigi Falorini, 2003)
March of the Penguins (Luc Jacquet, 2005)
An Inconvenient Truth (Davis Guggenheim, 2006)
Epic
The Birth of a Nation (D.W. Griffith, 1915)
Alexander Nevsky (Sergei M. Eisenstein and Dmitri Vasilyev, 1938)
The Robe (Henry Koster, 1953)
The Ten Commandments (Cecil B. DeMille, 1956)
Ben-Hur (William Wyler, 1959)
Spartacus (Stanley Kubrick, 1960)
Doctor Zhivago (David Lean, 1965)
Gladiator (Ridley Scott, 2000)
Kingdom of Heaven (Ridley Scott, 2005)
Film Noir
Double Indemnity (Billy Wilder, 1944)
Fallen Angel (Otto Preminger, 1945)
The Big Sleep (Howard Hawks, 1946)
Kiss Me Deadly (Robert Aldrich, 1955)
Touch of Evil (Orson Welles, 1958)
Chinatown (Roman Polanski, 1974)
L.A. Confidential (Curtis Hanson, 1997)
Sin City (Frank Miller and Robert Rodriguez, 2005)
Gangster
Little Caesar (Mervyn Leroy, 1931)
Public Enemy (William Wellman, 1931)
Angels with Dirty Faces (Michael Curtiz, 1938)
Bonnie and Clyde (Arthur Penn, 1967)
The Godfather (Francis Ford Coppola, 1972)
GoodFellas (Martin Scorsese, 1990)
Pulp Fiction (Quentin Tarantino, 1994)
Snatch (Guy Ritchie, 2000)
Gangs of New York (Martin Scorsese, 2002)
Road to Perdition (Sam Mendes, 2002)
Horror
Nosferatu (F.W. Murnau, 1922)
The Bride of Frankenstein (James Whale, 1935)
Cat People (Jacques Tourneur, 1942)
The Night of the Living Dead (George A. Romero, 1968)
The Exorcist (William Friedkin, 1973)
Halloween (John Carpenter, 1978)
Ring (Hideo Nakata, 1998)
The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999)
Martial Arts
Fists of Fury (Wei Lo, 1971)
The Chinese Connection (Wei Lo, 1972)
Enter the Dragon (Robert Clouse, 1973)
The Karate Kid (John G. Avildsen, 1984)
Once Upon a Time in China (Tsui Hark, 1991)
Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
Hero (Zhang Yimou, 2002)
Melodrama
Imitation of Life (John M. Stahl, 1934)
Stella Dallas (King Vidor, 1937)
Now, Voyager (Irving Rapper, 1942)
Mildred Pierce (Michael Curtiz, 1945)
Brief Encounter (David Lean, 1945)
The Life of Oharu (Kenji Mizoguchi, 1952)
Musical
Le Million (Rene Clair, 1931)
42nd Street (Lloyd Bacon, 1933)
The Merry Widow (Ernst Lubitsch, 1934)
Top Hat (Mark Sandrich, 1935)
Meet Me in St. Louis (Vincente Minnelli, 1944)
Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952)
Gigi (Vincente Minnelli, 1958)
West Side Story (Robert Wise and Jerome Robbins, 1961)
Cabaret (Bob Fosse, 1972)
Grease (Randal Kleiser, 1978)
Dirty Dancing (Emile Ardolina, 1987)
Moulin Rouge! (Baz Luhrmann, 2001)
Hairspray (Adam Shankman, 2007)
Propaganda
The Triumph of the Will (Leni Riefenstahl, 1935)
The Plow that Broke the Plains (Pare Lorentz, 1936)
Der Fuehrer’s Face (Jack Kinney, 1943)
Science Fiction and Fantasy
Metropolis (Fritz Lang, 1927)
The Wizard of Oz (Victor Fleming, 1939)
The Time Machine (George Pal, 1960)
2001: A Space Odyssey (Stanley Kubrick, 1968)
Solaris (Andrei Tarkovsky, 1972)
Star Wars (George Lucas, 1977)
The Matrix (Larry and Andy Wachowski, 1999)
Avatar (James Cameron, 2009)
Inception (Christopher Nolan, 2010)
Serial
The Perils of Pauline (Louis Gasnier, 1914)
Flash Gordon (Frederick Stephani, 1936)
The Lone Ranger (John English and William Witney, 1938)
Series
Charlie Chan (Various, 1931-49)
Don Camillo (Various, 1951-65)
Zatoichi (Various, 1962-2003)
The Lord of the Rings (Peter Jackson, 2001-03)
Harry Potter (Various, 2001-11)
The Chronicles of Narnia (Various, 2005-)
Teens
Rebel Without a Cause (Nicholas Ray, 1955)
American Graffiti (George Lucas, 1973)
The Breakfast Club (John Hughes, 1985)
Mean Girls (Mark Waters, 2004)
Thriller
The Third Man (Carol Reed, 1949)
Psycho (Alfred Hitchcock, 1960)
The Silence of the Lambs (Jonathan Demme, 1991)
The Constant Gardener (Fernando Meirelles, 2005)
The Girl Who Played with Fire (Daniel Alfredson, 2009)
Underground
Meshes of the Afternoon (Maya Deren, 1943)
Wavelength (Michael Snow, 1967)
Flesh (Paul Morrissey, 1968)
War
J’Accuse (Abel Gance, 1919)
Paths of Glory (Stanley Kubrick, 1957)
Apocalypse Now (Francis Ford Coppola, 1979)
Das Boot (Wolfgang Peterson, 1981)
Full Metal Jacket (Stanley Kubrick, 1987)
Saving Private Ryan (Steven Spielberg, 1998)
No Man’s Land (Danis Tanovic, 2001)
The Hurt Locker (Kathryn Bigelow, 2008)
Western
Stagecoach (John Ford, 1939)
The Man from Laramie (Anthony Mann, 1955)
The Searchers (John Ford, 1956)
The Magnificent Seven (John Sturges, 1960)
The Man who Shot Liberty Valance (John Ford, 1962)
The Wild Bunch (Sam Peckinpah, 1969)
Once Upon a Time in the West (Sergio Leone, 1968)
Unforgiven (Clint Eastwood, 1992)
True Grit (Joel and Ethan Coen, 2010)
2. WORLD FILM
Africa
The Money Order (Ousmane Sembene, Senegal, 1968)
The Night of Counting the Years (Shadi Abdelsalam, Egypt, 1969)
Xala (Ousmane Sembene, Senegal, 1975)
Chronicle of the Burning Years (Mohammed Lakhdar-Hamina, Algeria, 1975)
Alexandria… Why? (Youssef Chahine, Egypt, 1978)
Man of Ashes (Nouri Bouzid, Tunisia, 1986)
Yeelen (Souleymane Cisse, Mali, 1987)
The Silences of the Palace (Moufida Tlatli, Tunisia, 1994)
Waiting for Happiness (Abderrahmane Sissako, Mauritania, 2002)
The Middle East
Divine Intervention (Elia Suleiman, Palestine, 2002)
The Syrian Bride (Eran Riklis, Palestine, 2004)
Thirst (Tawfik Abu Wael, Palestine, 2004)
Paradise Now (Hand Abu-Assad, Palestine, 2005)
Iran
The Cow (Dariush Mehrjui, 1968)
The White Balloon (Jafar Panahi, 1995)
Taste of Cherry (Abbas Kiarostami, 1997)
The Children of Heaven (Majid Majidi, 1997)
Blackboards (Samira Makmalbaf, 2000)
The Day I Became a Woman (Marzieh Meshkini, 2000)
Secret Ballot (Babek Payami, 2001)
Kandahar (Mohsen Makmalbaf, 2001)
Turtles Can Fly (Bahman Ghobadi, 2004)
Eastern Europe
Knife in the Water (Roman Polanski, Poland, 1962)
The Shop on the High Street (Jan Kadar, Czechoslovakia, 1965)
The Round-Up (Miklos Jansco, Hungary, 1965)
Loves of a Blonde (Milos Foreman, Czechoslovakia, 1965)
Daisies (Vera Chytilova, Czechoslovakia, 1966)
Closely Observed Trains (Jiri Menzel, Czechoslovakia, 1966)
Man of Marble (Andrzej Wajda, Poland, 1976)
The Three Colours trilogy (Krzysztof Kieslowski, Poland, 1993-94)
Divided We Fall (Jan Hrebejk, Czech Republic, 2000)
The Turin Horse (Bela Tarr, Hungary, 2011)
The Balkans
A Matter of Dignity (Michael Cacoyannis, Greece, 1957)
I Even Met Happy Gypsies (Aleksandar Petrovic, Yugoslavia, 1967)
The Goat Horn (Metodi Andonov, Bulgaria, 1972)
Yol (Yilmaz Güney and Serif Goren, Turkey, 1982)
Underground (Emir Kusturica, Yugoslavia, 1995)
Eternity and a Day (Theo Angelopoulos, Greece, 1998)
Uzak (Nuri Bilge Ceylan, Turkey, 2002)
The Death of Mr. Lazarescu (Cristi Puiu, Romania, 2005)
4 Months, 3 Weeks, and 2 Days (Cristian Mungiu, Romania, 2007)
Russia
The Battleship Potemkin (Sergei Eisenstein, 1925)
Storm Over Asia (Vsevolod Pudovkin, 1928)
Earth (Alexander Dovzhenko, 1930)
Ivan the Terrible Parts I and II (Sergei Eisenstein, 1944/58)
The Cranes are Flying (Mikhail Kalatozov, 1957)
Ballad of a Soldier (Grigori Chukhrai, 1959)
The Colour of Pomegranates (Sergei Parajanov, 1969)
Come and See (Elem Klimov, 1985)
Russian Ark (Aleksandr Sokurov, 2002)
The Nordic Countries
The Phantom Carriage (Victor Sjostrom, Sweden, 1921)
Day of Wrath (Carl Dreyer, Denmark, 1943)
Persona (Ingmar Bergman, Sweden, 1966)
Babette’s Feast (Gabriel Axel, Denmark, 1987)
Festen (Thomas Vinterberg, Denmark, 1998)
Songs from the Second Floor (Roy Andersson, Sweden, 2000)
O’Horten (Bent Hamer, Norway, 2007)
The Girl with the Dragon Tattoo (Niels Arden Oplev, Sweden/Denmark/Germany/Norway, 2009)
Germany
The Last Laugh (F.W. Murnau, 1924)
Pandora’s Box (G.W. Pabst, 1929)
The Blue Angel (Josef von Sternberg, 1930)
M (Fritz Lang, 1931)
The Bridge (Bernhard Wicki, 1959)
Kings of the Road (Wim Wenders, 1976)
The Marriage of Maria Braun (Rainer Werner Fassbinder, 1978)
The Tin Drum (Volker Schlöndorff, 1979)
Run Lola Run (Tom Tykwer, 1998)
France
Napoleon (Abel Gance, 1927)
L’Atalante (Jean Vigo, 1934)
La Grande Illusion (Jean Renoir, 1937)
Le Jour se Leve (Marcel Carne, 1939)
Diary of a Country Priest (Robert Bresson, 1951)
Hiroshima Mon Amour (Alain Resnais, 1959)
Jules et Jim (Francois Truffaut, 1962)
Weekend (Jean-Luc Godard, 1967)
La Haine (Mathieu Kassovitz, 1995)
The Taste of Other (Agnes Jaoui, 2000)
The Class (Laurent Cantet, 2008)
A Prophet (Jacques Audiard, 2009)
Of Gods and Men (Xavier Beauvois, 2010)
Italy
The Flowers of St. Francis (Roberto Rossellini, 1950)
Umberto D. (Vittorio De Sica, 1952)
La Notte (Michelangelo Antonioni, 1961)
The Leopard (Luchino Visconti, 1963)
The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)
Amarcord (Federico Fellini, 1973)
1900 (Bernardo Bertolucci, 1976)
Cinema Pardiso (Giuseppe Tornatore, 1988)
Il Postino (Michael Radford, 1994)
The Best of Youth (Marco Tullio Giordana, 2003)
Gomorrah (Matteo Garrone, 2008)
Vincere (Marco Bellocchio, 2009)
United Kingdom
The Lady Vanishes (Alfred Hitchcock, 1938)
Odd Man Out (Carol Reed, 1947)
Black Narcissus (Michael Powell and Emeric Pressburger, 1947)
Whiskey Galore (Alexander Mackendrick, 1949)
The Servant (Joseph Losey, 1963)
If… (Lindsay Anderson, 1968)
Local Hero (Bill Forsyth, 1983)
Brazil (Terry Gilliam, 1985)
Billy Elliot (Stephen Daldry, 2000)
Touching the Void (Kevin Macdonald, 2003)
The King’s Speech (Tom Hooper, 2010)
Spain
Welcome Mr. Marshall! (Luis Garcia Berlanga, 1953)
Death of a Cyclist (Juan Antonio Bardem, 1955)
Viridiana (Luis Bunuel, 1961)
The Spirit of the Beehive (Victor Erice, 1973)
Cria Cuervos (Carlos Saura, 1976)
Tierra (Julio Medem, 1996)
Talk to Her (Pedro Almodovar, 2002)
The Sea Inside (Alejandro Amenabar, 2004)
Portugal
Hard Times (Joao Botelho, 19880
Abraham’s Valley (Manoel de Oliveira, 1993)
God’s comedy (Joao Cesar Monteiro, 1995)
River of Gold (Paulo Rocha, 1998)
O Delfim (Fernando Lopes, 2002)
Canada
My Uncle Antoine (Claude Jutra, 1971)
The True Nature of Bernadette (Gilles Carles, 1972)
The Apprenticeship of Duddy Kravitz (Ted Kotcheff, 1974)
The Decline of the American Empire (Denys Arcand, 1986)
I’ve Heard the Mermaids Singing (Patricia Rozema, 1987)
Dead Ringers (David Cronenberg, 1988)
Jesus of Montreal (Denys Arcand, 1989)
Exotica (Atom Egoyan, 1994)
The Sweet Hereafter (Atom Egoyan, 1997)
The Barbarian Invasions (Denys Arcand, 2003)
Twist (Jacob Tierney, 2003)
Central America
Maria Candelaria (Emilio Fernandez, Mexico, 1944)
La Perla (Emilio Fernandez, Mexico, 1947)
Los Olvidados (Luis Bunuel, Mexico, 1950)
I am Cuba (Mikhail Kalatozov, Soviet Union/Cuba, 1964)
Memories of Underdevelopment (Tomas Gutierrez Area, Cuba, 1968)
Lucia (Humberto Solas, Cuba, 1968)
Like Water for Chocolate (Alfonso Area, Mexico, 1992)
Amores Perros (Alejandro Gonzales Inarritu, Mexico, 2000)
Y Tu Mama También (Alfonso Cuaron, Mexico, 2001)
Pan’s Labyrinth (Guillermo del Toro, Mexico, 2006)
South America
The Hand in the Trap (Leopoldo Torre Nilsson, Argentina, 1961)
Barren Lives (Nelson Pereira dos Santos, Brazil, 1963)
Antonio das Mortes (Glauber Rocha, Brazil, 1969)
The Hour of the Furnaces (Fernando Solanas and Octavio Getino, Argentina, 1970)
The Battle of Chile (Patricio Guzman, Chile, 1975/79)
The Official Story (Luis Puenzo, Argentina, 1985)
Central Station (Walter Salles, Brazil, 1998)
City of God (Fernando Meirelles, Brazil, 2002)
The Secret in Their Eyes (Juan Jose Campanella, Argentina, 2010)
China, Hong Kong, and Taiwan
Two Stage Sisters (Xie Jin, China, 1965)
A Touch of Zen (King Hu, Taiwan, 1969)
The Way of the Dragon (Bruce Lee, Hong Kong, 1972)
Yellow Earth (Chen Kaige, China, 1984)
City of Sadness (Hsiou-Hsein Hou, Taiwan, 1989)
Ju Dou (Zhang Yimou and Yang Fengliang, Japan/China, 1990)
Raise the Red Lantern (Zhang Yimou, China, 1991)
Yi Yi (Edward Yang, Taiwan, 2000)
Still Life (Jia Zhang Ke, China, 2006)
Korea
The Day a Pig Fell into the Well (Hong Sang-Soo, 1996)
Shiri (Kang Je-Gyu, 1999)
Chihwaseon (Im Kwon-Taek, 2002)
The Way Home (Lee Jong-Hyang, 2002)
Oasis (Lee Chang-dong, 2002)
Spring, Summer, Fall, Winter… and Spring (Kim Ki-Duk, 2003)
Secret Sunshine (Lee Chang-Dong, 2007)
Japan
Equinox Flower (Yasujiro Ozu, 1958)
An Actor’s Revenge (Kon Ichikawa, 1963)
Boy (Nagisa Oshima, 1969)
Vengeance is Mine (Shohei Imamura, 1979)
Hana-Bi (Takeshi Kitano, 1997)
After Life (Hirokazu Koreeda, 1998)
Still Walking (Hirokazu Koreeda, 2008)
Catepillar (Koji Wakamatsu, 2010)
India
Devdas (Bimal Roy, 1955)
Rather Panchali (Satyajit Ray, 1955)
Mother India (Mehboob Khan, 1957)
Charulata (Satyajit Ray, 1964)
Bhuvan Shome (Mrinal Sen, 1969)
Sholay (Ramesh Sippy, 1975)
Nayagan (Mani Ratnam, 1987)
Salaam Bombay! (Mira Nair, 1988)
Bandit Queen (Shekhar Kapur, 1994)
Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995)
Kannathil Muthamittal (Mani Ratnam, 2002)
Shwaas (Sandeep Sawant, 2004)
Harishchandrachi Factory (Paresh Mokashi, 2009)
People Live (Anusha Rizvi, 2010)
Australia and New Zealand
Picnic at the Hanging Rock (Peter Weir, Australia, 1975)
The Getting of Wisdom (Bruce Beresford, Australia, 1977)
Newsfront (Phillip Noyce, Australia, 1978)
My Brilliant Career (Gillian Armstrong, Australia, 1979)
Mad Max (George Millar, Australia, 1979)
Crocodile Dundee (Peter Faiman, Australia, 1986)
An Angel at My Table (Jane Campion, New Zealand, 1990)
Heavenly Creatures (Peter Jackson, New Zealand, 1994)
Happy Feet (George Millar, Australia, 2006)
Australia (Bax Luhrmann, Australia, 2008)
3. DIRECTORS
Woody Allen
Sleeper (1973)
Love and Death (1976)
Manhattan (1979)
Broadway Danny Rose (1984)
The Purple Rose of Cairo (1985)
Hannah and Her Sisters (1986)
Crimes and Misdemeanors (1989)
Husbands and Wives (1992)
Match Point (2005)
Vicky Cristina Barcelona (2008)
Pedro Almodovar
What Have I Done to Deserve This (1984)
Law of Desire (1987)
Women on the Verge of a Nervous Breakdown (1988)
High Heels (1991)
All About My Mother (1999)
Bad Education (2004)
Volver (2006)
Robert Altman
M*A*S*H* (1970)
McCabe and Mrs. Miller (1971)
Nashville (1975)
The Player (1992)
Short Cuts (1993)
Gosford Park (2001)
A Prairie Home Companion (2006)
Theo Angelopoulos
The Traveling Players (1975)
Landscape in the Mist (1988)
The Weeping Meadow (2004)
Michelangelo Antonioni
L’Avventua (1960)
L’Eclisse (1962)
Il Deserto Rosso (1964)
Blow-Up (1966)
The Passenger (1975)
Ingmar Bergman
Summer Interlude (1951)
Smiles of a Summer Night (1955)
The Seventh Seal (1957)
Wild Strawberries (1957)
The Face (1958)
Cries and Whispers (1972)
Autumn Sonata (1978)
Fanny and Alexander (1982)
Bernardo Bertolucci
Before the Revolution (1964)
The Conformist (1970)
Last Tango in Paris (1972)
The Last Emporero (1987)
The Dreamers (2003)
Luc Besson
The Big Blue (1988)
Nikita (1990)
Leon (1995)
The Fifth Element (1997)
Robert Bresson
Ladies of the Park (1945)
A Man Escaped (1956)
Balthazar (1966)
L’Argent (1983)
Tod Browning
The Unholy Three (1925)
The Blackbird (1926)
The Unknown (1927)
West of Zanzibar (1928)
Dracula (1931)
Freaks (1932)
The Devil-Doll (1936)
Luis Bunuel
An Andalusian Dog (1929)
Age of Gold (1930)
The Young and the Damned (1950)
Nazarin (1958)
The Exterminating Angel (1962)
Diary of a Chambermaid (1964)
Belle de Jour (1967)
Tristana (1970)
The Discreet Charm of the Bourgeoisie (1972)
Frank Capra
Platinum Blonde (1931)
The Bitter Tea of General Yen (1933)
Lady for a Day (1933)
It Happened One Night (1934)
Mr. Deeds Goes to Town (1936)
You Can’t Take It with You (1938)
Mr. Smith Goes to Washington (1939)
It’s a Wonderful Life (1946)
Marcel Carne
Bizarre Bizarre (1937)
Port of Shadows (1938)
The Devil’s Envoys (1942)
John Cassavetes
Shadows (1959)
Faces (1968)
Minnie and Maskowitz (1971)
Gloria (1980)
Claude Chabrol
The Cousins (1959)
The Good Time Girls (1960)
The Unfaithful Wife (1969)
The Hatter’s Ghost (1982)
The Ceremony (1995)
Nightcap (2000)
Charlie Chaplin
The Kid (1921)
A Woman of Paris (1923)
The Gold Rush (1925)
The Circus (1928)
City Lights (1931)
Modern Times (1936)
The Great Dictator (1940)
Rene Clair
The Italian Straw Hat (1928)
Under the Roofs of Paris (1930)
The Million (1931)
Freedom for Us (1931)
The Last Billionaire (1934)
The Ghost Goes West (1935)
It Happened Tomorrow (1944)
Night Beauties (1952)
Summer Manoeuvres (1955)
Henri-Geoges Clouzot
The Raven (1943)
Quay of the Goldsmiths (1947)
The Wages of Fear (1953)
Diabolique (1955)
The Picasso Mystery (1956)
Jean Cocteau
The Blood of a Poet (1930)
Beauty and the Beast (1946)
Orpheus (1950)
The Testament of Orpheus (1960)
Joel and Ethan Coen
Blood Simple (1984)
Raising Arizona (1987)
Barton Fink (1991)
Fargo (1996)
The Big Lebowski (1998)
No Country for Old Men (2007)
A Serious Man (2009)
Francis Ford Coppola
The Conversation
The Outsiders
Tucker: The Man and His Dreams
George Cukor
Dinner at Eight (1933)
Little Women (1933)
Sylvia Scarlett (1935)
David Copperfield (1935)
Camille (1936)
Holiday (1938)
The Women (1939)
The Philadelphia Story (1940)
Adam’s Rib (1949)
A Star is Born (1954)
My Fair Lady (1964)
Michael Curtiz
Kid Galahad (19370
Casablanca (1942)
Cecil B. DeMille
The Cheat (1915)
The Ten Commandments (1923)
Cleopatra (1934)
The Plainsman (1936)
Union Pacific (1939)
Reap with Wild Wind (1942)
Unconquered (1947)
Samson and Delilah (1949)
The Greatest Show on Earth (1952)
Vittorio De Sica
Shoeshine (1946)
Bicycle Thieves (1948)
Miracle in Milan (1951)
Two Women (1960)
The Garden of the Finzi-Continis (1970)
Carl Dreyer
Master of the House (1925)
The Passion of Joan of Arc (1928)
The Vampire (1932)
The Word (1955)
Gertrud (1964)
Clint Eastwood
Play Misty for Me
The Outlaw Josey Wales (1976)
Bird (1988)
Mystic River (2003)
Million Dollar Baby (2004)
Flags of Our Fathers (2006)
Letters From Iwo Jima (2006)
Invictus (2009)
Sergei Eisenstein
Strike (1924)
October (1927)
The General Line (1928)
Rainer Werner Fassbinder
The Merchant of Four Seasons (1971)
The Bitter Tears of Petra von Kant (1972)
Fear Eats the Soul (19740
Effi Briest (1974)
Fox (1975)
Mother Kusters’ Trip to Heaven (1975)
In aYear of 13 Moons (1978)
Lola (1981)
Veronika Voss (1982)
Federico Fellini
I Vitelloni (1953)
La Strada (1954)
La Dolce Vita (1960)
8 1/2 (1963)
Juiletta of the Spirits (1945)
Roma (1972)
Fellini’s Casanova (1976)
Robert J. Flaherty
Nanook of the North (1922)
Moana (1926)
Man of Aran (1934)
Louisianna Story (1948)
John Ford
The Grapes of Wrath (1940)
Fort Apache (1948)
Milos Forman
The Firemen’s Ball (1967)
One Flew Over the Cuckoo’s Nest (1975)
Amadeus (1984)
Man on the Moon (1999)
Abel Gance
The Tenth Symphony (1918)
The Wheel (1923)
The Life and Loves of Beethoven (1936)
Jean-Luc Godard
Breathless (1960)
My Life to Live (1962)
Contempt (1963)
Band of Outsiders (1964)
Alphaville (1965)
Two or Three Things I Know About Her (1967)
New Wave (1990)
In Praise of Love (2001)
Our Music (2004)
D.W. Griffith
Intolerance (1916)
True Heart Susie (1919)
Broken Blossoms (1919)
Way Down East (1920)
Orphans of the Storm (1921)
Howard Hanks
Scarface (1932)
Twentieth Century (1934)
Bringing Up Baby (1938)
Only Angels Have Wings (1939)
To Have and Have Not (1944)
Red River (1948)
Rio Bravo (1959)
Werner Herzog
Signs of Life (1967)
Fata Morgana (1971)
Aguirre, Wrath of God (1972)
Enigma of Kasper Hauser (1974)
Fitzcarraldo (1982)
My Best Friend (1999)
Grizzly Man (2005)
Encounters at the End of the World (2007)
The Bad Lieutenant: Port of Call - New Orleans (2009)
Alfred Hitchcock
The 39 Steps (1935)
Shadow of a Doubt (1943)
Strangers on a Train (1951)
Rear Window (1954)
Vertigo (1958)
North by Northwest (1959)
The Birds (1963)
Marnie (1964)
John Huston
The Maltese Falcon (1941)
The Treasure of the Sierra Madre (1948)
Key Largo (1948)
The Asphalt Jungle (1950)
The African Queen (1951)
Beat the Devil (1953)
The Misfits (1961)
Reflections in a Golden Eye (1967)
Fat City (1972)
The Dead (1987)
Miklos Jancso
My Way Home (1965)
The Red and the White (1968)
The Confrontation (1969)
Agnus Dei (1971)
Red Psalm (1972)
Beloved Electra (1974)
Elia Kazan
A Streetcar Named Desire (1951)
On the Waterfront (1954)
East of Eden (1955)
A Face in the Crowd (1957)
Wild River (1960)
Splendor in the Grass (1961)
Abbas Kiarostami
Where is the Friend’s Home? (1987)
And Life Goes On… (1992)
Through the Olive Trees (1994)
The Wind Will Carry Us (1999)
Ten (2002)
Krzysztof Kieslowski
- Blind Chance (1981)
- A Short Film About Killing (1988)
- A Short Film About Love (1988)
- The Double Life of Veronique (1991)
Stanley Kubrick
Lolita (1962)
Dr. Strangelove (1964)
A Clockwork Orange (1971)
Akira Kurosawa
Rashomon (1950)
To Live (1952)
Throne of Blood (1957)
The Hidden Fortress (1958)
The Bodyguard (1961)
Sanjuro (1962)
Dersu Uzala (1975)
Kagemusha (1980)
Ran (1985)
Fritz Lang
Dr. Mabuse: The Gambler (1922)
Fury (1936)
Hangmen Also Die! (1943)
The Woman in the Window (1944)
Scarlet Street (1945)
Clash by Night (1952)
The Big Heat (1953)
Human Desire (1954)
David Lean
In Which We Serve (1942)
Great Expectations (1946)
Oliver Twist (1948)
Hobson’s Choice (1954)
The Bridge on the River Kwai (1957)
A Passage to India (1984)
Spike Lee
She’s Gotta Have It (1986)
Do the Right Thing (1989)
Jungle Fever (1991)
Malcolm X (1992)
Crooklyn (1994)
Clockers (1995)
Ernst Lubitsch
Trouble in Paradise (1932)
Design for Living (1933)
Desire (1936)
Angel (1937)
Ninotchka (1939)
The Shop Around the Corner (1940)
To Be or Not to Be (1942)
David Lynch
Eraserhead (1977)
The Elephant Man (1980)
Blue Velvet (1986)
Twin Peaks (1992)
The Straight Story (1999)
Mulholland Drive (2001)
Louis Malle
The Lovers (1958)
Murmur of the Heart (1971)
Lacombe Lucien (1974)
Pretty Baby (1978)
Atlantic City (1980)
Au Revoir Les Enfants (1987)
Joseph L. Mankiewicz
The Ghost and Mrs. Muir (1947)
A Letter to Three Wives (1949)
All About Eve (1950)
5 Fingers (1952)
Julius Caesar (1953)
The Barefoot Contessa (1954)
Guys and Dolls (1955)
Suddenly, Last Summer (1959)
Leo McCarey
Ruggles of Red Gap (1935)
Make Way for Tomorrow (1937)
The Awful Truth (1937)
Love Affair (1939)
Going My Way (1944)
The Bells of St. Mary’s (1945)
An Affair to Remember (1957)
Jean-Pierre Melville
The Strange Ones (1950)
Bob the Gambler (1956)
Doulos: The Finger Man (1962)
Magnet of Doom (1963)
Second Breath (1966)
The Samurai (1967)
Army of Shadows (1969)
Vincente Minnelli
The Pirate (1948)
An American in Paris (1951)
The Bad and the Beautiful (1953)
The Band Wagon (1953)
Lust for Life (1956)
Some Came Running (1959)
Kenji Mizoguchi
Osaka Elegy (1936)
Sister of the Gion (1936)
The Story of the Last Chrysanthemums (1939)
Utamaro and his Five Women (1946)
Ugetsu Monogatari (1953)
Sansho the Bailiff (1954)
Street of Shame (1956)
F.W. Murnau
Faust (1926)
Sunrise (1927)
Tabu (1931)
Manoel de Oliveira
Aniki Bobo (1942)
Doomed Love (1979)
Francisca (1981)
The Cannibals (1988)
The Convent (1995)
I’m Going Home (2001)
A Talking Picture (2003)
O Estranho Caso de Angelica (2010)
Max Ophuls
Leiberlei (1933)
Mayerling to Sarajevo (1940)
Letter from an Unknown Woman (1948)
La Ronde (1950)
House of Pleasure (1952)
Madame de… (1953)
Lola Montes (1955)
Nagisa Oshima
The Sun’s Burial (1960)
Death by Hanging (1968)
Diary of Shinjuku Thief (1969)
The Ceremony (1971)
In the Realm of the Sense (1976)
Empire of Passion (1978)
Taboo (1999)
Yasujiro Ozu
Record of a Tenement Gentleman (1947)
Late Spring (1949)
Early Summer (1951)
Tokyo Story (1953)
Early Spring (1956)
Good Morning (1959)
Late Autumn (1960)
The End of Summer (1961)
An Autumn Afternoon (1962)
Georg Wilhelm Pabst
The Love of Jeanne Ney (1927)
Diary of a Lost Girl (1929)
The Threepenny Opera (1931)
Comradeship (1931)
Sergei Parajanov
The Stone Flower (1962)
Shadows of Forgotten Ancestors (1964)
Ashik Kerib (1988)
Pier Paolo Pasolini
Accatone (1961)
Oedipus Rex (1967)
Theorem (1968)
The Decameron (1971)
The Canterbury Tales (1972)
The Arabian Nights (1974)
Salo, or the 120 Days of Sodom (1975)
Sam Peckinpah
Ride the High Country (1962)
Major Dundee (1965)
The Ballad of Cable Hogue (1970)
Pat Garrett and Billy the Kid (1973)
Bring Me the Head of Alfredo Garcia (1974)
Roman Polanski
Repulsion (1965)
Cul-de-Sac (1965)
Rosemary’s Baby (1968)
The Tenant (1976)
The Pianist (2002)
The Ghost Writer (2010)
Michael Powell and Emeric Pressburger
The Life and Death of Colonel Blimp (1943)
A Canterbury Tale (1944)
I Know Where I’m Going (1945)
A Matter of Life and Death (1946)
The Red Shoes (1948)
The Small Back Room (1948)
The Tales of Hoffman (1951)
Otto Preminger
Laura (1944)
Daisy Kenyon (1947)
The Man with the Golden Arm (1955)
Anatomy of a Murder (1959)
Exodus (1960)
Advise and Consent (1962)
Vsevolod Pudovkin
Mother (1926)
The End of St. Petersburg (1927)
Nicholas Ray
They Live By Night (1949)
In a Lonely Place (1950)
Johnny Guitar (1954)
Bigger Than Life (1956)
Wind Across the Everglades (1958)
Satyajit Ray
Pather Panchali (1955)
The Unvanquished (1956)
The Music Room (1959)
The World of Apu (1959)
The Big City (1964)
The Lonely Wife (1964)
Days and Nights in the Forest (1970)
Distant Thunder (1973)
The Middleman (1976)
The Chess Players (1977)
Jean Renoir
Boudu Saved from Drowning (1932)
The Crime of Monsieur Lange (1936)
Grand Illusion (1937)
The Human Beast (1938)
The Rulers of the Game (1939)
The Southerner (1945)
The Golden Coach (1952)
French Can-Can (1954)
Elena and Her Men (1956)
Alain Resnais
Last Year at Marienbad (1961)
Muriel (1963)
The War is Over (1966)
Stavisky (1974)
Providence (1977)
Same Old Song (1997)
Les Herbes Folles (2009)
Jacques Rivette
Paris Belongs to Us (1961)
The Nun (1966)
Mad Love (1969)
Celine and Julie Go Boating (1974)
La Belle Noiseuse (1991)
Jeanne la Pucelle I - Les Batailles (1994)
Va Savior (2001)
The Duchess of Langeais (2007)
Eric Rohmer
My Night at Maud’s (1969)
Claire’s Knee (1970)
The Aviator’s Wife (1981)
Pauline at the Beach (1983)
The Green Ray (1986)
A Tale of Springtime (1990)
A Tale of Winter (1992)
A Summer’s Tale (1996)
An Autumn Tale (1998)
Les Amours d’astres et de Celadon (2007)
Roberto Rossellini
Rome, Open City (1945)
Paisan (1946)
Germany Year Zero (1948)
Stromboli (1950)
The Greatest Love (1952)
Voyage to Italy (1953)
General della Rovere (1959)
The Rise of Louis XIV (1966)
Martin Scorsese
Mean Streets (1973)
Taxi Driver (1976)
New York, New York (1977)
Raging Bull (1980)
After Hours (1985)
The Colour of Money (1986)
The Last Temptation of Christ (1988)
The Age of Innocence (1993)
The Departed (2006)
Shutter Island (2010)
Ousmane Sembene
God of Thunder (1971)
The Camp of Thiaroye (1989)
Moolaade (2004)
Douglas Sirk
Has Anybody Seen My Gal? (1952)
Take Me to Town (1953)
All I Desire (1953)
Magnificent Obsession (1954)
All That Heaven Allows (1955)
Written on the Wind (1956)
The Tarnished Angels (1957)
Imitation of Life (1959)
Steven Spielberg
Jaws (1975)
Close Encounters of the Third Kind (1977)
Raiders of the Lost Ark (1981)
E.T.: The Extra-Terrestrial (1982)
Jurassic Park (1993)
Schindler’s List (1993)
Munich (2005)
Indiana Jones (2008)
Josef von Sternberg
Morocco (1930)
Dishonored (1931)
Shanghai Express (1932)
Blonde Venus (1932)
The Scarlet Express (1934)
The Devil is a Woman (1935)
The Saga of Anatahan (1953)
Erich von Sternheim
Blind Husbands (1919)
Foolish Wives (1922)
Greed (1924)
The Merry Widow (1925)
The Wedding March (1928)
Queen Kelly (1929)
Preston Sturges
The Lady Eve (1941)
Sullivan’s Travels (1941)
The Palm Beach Story (1942)
The Miracle of Morgan’s Creek (1944)
Hail the Conquering Hero (1944)
Andrei Tarkovsky
Ivan’s Childhood (1962)
Andrei Rublev (1966)
The Mirror (1975)
Stalker (1979)
The Sacrifice (1986)
Jacques Tati
Jour de fete (1949)
Mr. Hulot’s Holiday (1953)
Mon Oncle (1958)
Playtime (1967)
Lars von Trier
Epidemic (1987)
Europa (1991)
Breaking the Waves (1996)
The Idiots (1998)
Dancer in the Dark (2000)
Dogville (2003)
Antichrist (2009)
François Truffaut
The 400 Blows (1959)
Shoot the Piano Player (1960)
Fahrenheit 451 (1966)
The Bride Wore Black (1968)
The Wild Child (1970)
Bed & Board (1970)
Day for Night (1973)
The Green Room (1978)
Agnes Varda
Cleo from 5 to 7 (1962)
Happiness (1965)
One Sings, the Other Doesn’t (1977)
Vagabond (1985)
Jacquot da Nantes (1991)
The Gleaners & I (2000)
Les plagues d’Agnes (2008)
King Vidor
The Big Parade (1925)
The Crowd (1928)
Hallelujah! (1929)
The Champ (1931)
Our Daily Bread (1934)
Duel in the Sun (1946)
The Fountainhead (1949)
War and Peace (1956)
Jean Vigo
A Propos de Nice (1930)
Zero for Conduct (1933)
Luchino Visconti
Ossessione (1942)
La Terra Trema (1948)
Rocco and his Brothers (1960)
Death in Venice (1971)
Andrzej Wajda
A Generation (1954)
Canal (1957)
Ashes and Diamonds (1958)
Innocent Sorcerers (1960)
Siberian Lady Macbeth (1961)
Landscape After Battle (1970)
Man of Iron (1981)
Danton (1983)
Katyn (2007)
Tatarak (2009)
Orson Welles
Citizen Kane (1941)
The Magnificent Ambesons (1942)
The Lady from Shanghai (1947)
Macbeth (1948)
Othello (1952)
Confidential Report (1955)
Chimes at Midnight (1965)
William Wellman
Wings (1927)
Wild Boys of the Road (1933)
The Call of the Wind (1935)
Nothing Sacred (1937)
Beau Geste (1939)
Roxie Hart (1942)
The Ox-Bow Incident (1943)
The Story of G.I. Joe (1945)
The High and the Mighty (1954)
Wim Wenders
Alice in the Cities (1973)
The American Friend (1977)
Paris, Texas (1984)
Wings of Desire (1987)
Buena Vista Social Club (1999)
Don’t Come Knocking (2005)
James Whale
Frankenstein (1931)
The Old Dark Horse (1932)
The Invisible Man (1933)
Show Boat (1936)
Billy Wilder
The Major and the Minor
The Lost Weekend (1945)
Sunset Boulevard (1950)
Ace in the Hole (1951)
Stalag 17 (1953)
Some Like It Hot (1959)
The Apartment (1960)
One, Two, Three (1961)
Wong Kar Wai
Ashes of Time (1994)
Chungking Express (1994)
Fallen Angels (1995)
Happy Together (1997)
In the Mood for Love (2000)
2046 (2004)
My Blueberry Nights (2007)
William Wyler
The Little Foxes (1941)
Mrs. Miniver (1942)
The Best Years of Our Lives (1946)
Roman Holiday (1953)
Friendly Persuasion (1956)
The Big Country (1958)
Funny Girl (1968)
4. TOP 100 MOVIES
The Cabinet of Dr. Caligari (Robert Wiene, 1920)
All Quiet on the Western Front (Lewis Milestone, 1930)
King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)
A Star is Born (William A. Wellman, 1937)
Olympia (Lena Reifenstahl, 1938)
The Rules of the Game (Jean Renoir, 1939)
Gone with the Wind (Victor Fleming, 1939)
Passport to Pimlico (Henry Cornelius, 1949)
Panther Panchali (Satyajit Ray, 1955)
The Night of the Hunter (Charles Laughton, 1955)
Saturday Night and Sunday Morning (Karel Reisz, 1960)
Lawrence of Arabia (David Lean, 1962)
The Sound of Music (Robert Wise, 1965)
The Battle of Algiers (Gillo Pontecorvo, 1966)
The Chelsea Girls (Andy Warhol and Paul Morrissey, 1966)
Easy Rider (Dennis Hopper, 1969)
The Deer Hunter (Michael Cimino, 1978)
Blade Runner (Ridley Scott, 1982)
Heimat (Edgar Reitz, 1984/1992/2004)
Shoah (Claude Lanzmann, 1985)
A Room with a View (James Ivory, 1985)
Reservoir Dogs (Quentin Tarantino, 1992)
Traffic (Steven Soderbergh, 2000)
Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
6 notes
·
View notes
Text
Is Teen Wolf Lovecraftian?
Is Teen Wolf Lovecraftian?
Yes, very much so.
Why?
To understand if Teen Wolf is a Lovecraftian horror we need to start by defining our terms and providing comparisons. Lovecraft stories directly made into movies as a whole are just bad, and most video games too. However, using Lovecraftian ideas and tropes creates a successful narrative in most cases.
Several things define the Lovecraftian horror experience.
Isolation both mentally and physically
Lack of character information which is replaced by character reaction.
Lack of information about the world in which the protagonist finds themselves with a penalty for discovering that information.
The revelation that that which was formerly known is now revealed to be unknown and the consequences thereof
Fear of the unknown, specifically the previously thought known
Body Horror, specifically bodily transformation, from which there is no reversal
The insignificance of the subject in regards to the whole
These look specifically vague and you can apply them around a lot, and people do, but you might also notice a lack of tentacles there.
So before we turn this on Teen Wolf let’s present an example that you can understand the points in question
John Carpenter’s The Thing (1982)
A group of men in an Antarctic station inadvertantly let something other into their base.
Interestingly the least Lovecraftian thing in “The Thing” is the thing itself, and wasn’t that a fun sentence to write.
The Americans [as opposed to the late Norwegians] are already at breaking point, isolation - caused by the weather, their close proximity to each other, boredom and exhaustion have taken their toll, they are a brush fire just waiting for a spark, and that spark is the thing. It is not the spark because it’s hunting them down, because that seems almost incidental in it’s desire to just survive and hide despite it’s otherness, it’s the fact that any of them could BE the thing. I’m going to start calling it the alien - it sounds less like I’ve forgotten the word. This will probably cause problems when I move on to Alien (1979) in a minute.
Combined with that Carpenter uses long empty tracking shots (a technique he used in Halloween [1978] ) which creates a voyeuristic feeling which removes the safety of the base. The way that it works matches “The Strangers” (2008) which removes the feeling of being safe in your own home. The rich white affluent suburb with it’s white clapboard houses and wide green open spaces is invaded by “the shape” as he is called the in the credits, and those shots, in which nothing happen, makes the space unknown and terrifying for it. It removes the illusion of safety.
We know almost nothing about the men in the base, we become invested in them not because of what they are but who, they are charming, funny, tired, and very realistic but it becomes hard to remember their names because those things are ultimately irrelevant. Combined with the discovery of the space ship those men are irrelevant, what they undergo is irrelevant, no one is on the other end of the radio, they will not be saved and their deaths serve no purpose. They and their experience doesn’t matter.
In Ridley Scott’s Alien (1979) does the same thing, a random ship encounters something vast and unknowable and is infected, the Xenomorph then picks off the crew for no other reason than to continue it’s own species, it doesn’t choose them for any other reason than they are there. The robot’s betrayal makes them even more meaningless, any ship that encountered alien life would do, it just happened to be that one.
The presence of the Xenomorph makes the ship unknown, it could be anywhere. At first they think it’s something small and don’t learn otherwise until face to face with it. They have to use technology they don’t quite understand and can’t really use to find it in their own safe space. A safe space surrounded on all sides by absence - space itself. All the things on the ship which previously gave them safety, the machines that allow them to exist on the ship, are now dark places for it to hide.
In Dario Argento’s Suspiria (1977) - the only film not to have aliens - Suzy goes to a place that is grotesquely beautiful and just happens to be in the next room to the girl who is investigating it, when that girl goes missing she looks for her and discovers the old witch and kills her to save her own life.
Yet Suspiria, which might be the most Lovecraftian film of them all, has no exposition, most of the characters aren’t introduced, and the movie is mostly experiential, maggots rain from the ceiling, but we don’t know why, the witches are killing the girls in the academy but we don’t know why, instead we have a lurid oversaturated nightmare of a narrative where the dance academy swerves from mundane to brightly lit Roger Corman-esque interior design fantasy. It is a building that if Ludwig II took acid he might design using only primary colours, art nouveau doors, blood red walls and corridors that seem to ooze menace without doing anything, overlaid with Goblin’s infamous soundtrack. Combined with that the actors filmed the dialogue in their own language and English was dubbed over so the characters are not really communicating.
Suspiria is as close to reading Lovecraft (without the racism) as it is possible to get. And it does also feature body horror when Sarah is resurrected by the witches to act as a weapon, despite her slit throat and the pins in her eyes. It is a nightmare on film.
It is also not a film you watch. It’s a film you experience. [The remake is good but very different and not so Lovecraftian, although most of the characters are played by Tilda Swinton, it’s really squinting are you Tilda Swinton too?]
So having given defintions and examples of what it is - does Teen Wolf fit.
Isolation both mentally and physically
It is impossible for the characters in the know to leave the town, and even if they do then they must return.
We see Scott try to leave twice, once in Motel California and again in Ghosted. Both times they enter a phantasmagoric town which is certainly not the outside world. Other characters are taken by the Wild Hunt. Derek Hale manages to leave, but only after “evolution”.
His trips to Mexico are also phantasmagoric in that it is hard to say that they are not dreams, the Calavera stronghold for example uses a lot of dream logic and wonky camera angles giving the idea that it’s not real. La Iglesia does this as well.
Within the town there are those who know and those who do not. Those who know flock together but have to keep their secret from those who don’t. So Scott doesn’t tell his mother until season 2, Stiles doesn’t tell his Father until 3b, Lydia is still trying to tell her mother in s5.
Characters unaware of the knowledge that others know are completely isolated, without anyone to go to, which usually ends in violence, often against themselves - the Chimera.
With as much as the main characters know it is clear that they know very little about the town, as shown by the family of wendigo who were part of the community.
2. Lack of character information which is replaced by character reaction.
We know almost nothing about any of the characters. We know how they react and how they interact, and how they change, but their histories are completely absent. This is as true of the main characters as it is the victims who only appear in one episode.
3. Lack of information about the world in which the protagonist finds themselves with a penalty for discovering that information.
People know nothing, research can present viable answers which are later proven wrong, characters guess in good faith and are wrong, characters lie, but ultimately they know very little about the world in which they’ve found themselves and those who do know often withhold or manipulate that information.
An easy example is Damnatio Memoriae in which Scott discovers what he believes to be the identity of the original Beast, a serial killer in France, who has nothing to do with the Beast at all. It’s a coincidence that the term has been applied. The knowledge is irrelevant and Scott is left with no more information about the Beast than he did at the start, then the person who does tell him, in Maid of Gevaudan, is Gerard and has every reason to lie, and that’s assuming his guess was correct.
The more characters know in Teen Wolf the more likely they are to end up in Eichen House, and Dr Fenris, in 6b, with the information he has, becomes a mass murderer.
4. The revelation that that which was formerly known is now revealed to be unknown and the consequences thereof
The town is a supernatural hotspot and the revelation of that is the entire plot. I think we can agree that that one certainly applies. Combined with that the use of “safe spaces” as battlegrounds, such as the school, the school bus, the sheriff’s station.
5. Fear of the unknown, specifically the previously thought known
Dr Fenris killed the monsters in his care, the Sheriff nearly has a nervous breakdown with the appearance of the chimera, the possession of Stiles and Scott’s reaction thereafter. These all very much apply, even Stiles fear when Scott attacks him in the locker room in pilot. The more people know the more scared they become.
Traditionally in horror the less people know the more they have to be scared of, but in Lovecraftian horror they know enough to fear it, but not much more, often the creature, by its very existence can induce fear (like the Anuk-Ite) because it is so outside the realms of what the human mind can comprehend.
6. Body Horror, specifically bodily transformation, from which there is no reversal
Werewolves. It is worth mentioning here however that there are anomalies in the transformations, almost all of the werewolves speak of pain during transformation, and Derek uses pain to help control it by overwhelming them with pain, but Scott does not. Just as the protagonist in “The Dunwich Horror” finds himself turned into a fishman there is an inevitability to the transformations in certain cases. Derek is on a path to his inevitable evolution. Scott’s natural evolution is subverted, this might be because he never transforms after his black eyed beast form in season 4. His fear of his transformation holds him back from his inevitable end form, yet there is no way he can be human again, no matter how much he wants it.
7. The insignificance of the subject in regards to the whole
Scott is not important because of who he is. He’s important because he happened to be the person in the wrong place at the wrong time. He is incidental to most of the story despite him being the focus character, the world doesn’t care about Scott McCall, it is interested in the True Alpha, but that could as easily be Chuck Norris. Scott isn’t even the true alpha by virtue but for reasons we do not know, Deucalion had no interest in it, Peter thought it was hilarious, Morell manipulated it to save her own life and Deaton worshipped it. Others use it as a target. When Scott says, “I’m a true alpha you don’t know what I’m capable of” it defines the character. Kincaid tells him he’s not as strong as a normal alpha. There are questions around his biting of Liam. Scott is not the Chosen One, he’s the one that was there and that’s ignoring his questionable behaviour and the very strong argument that he is a villain, and that his narrative was one of fallen messiah and not the hero’s journey.
Frodo was not the Chosen One, he was the guy who had the ring, and many of his successes are because of his party of companions, but Frodo’s quest, which he fails, is of world ending importance.
In Scott’s case, he again succeeds mostly because of his companions, though, unlike Frodo, he is unaware of this, he is not throwing the ring into Mount Doom to defeat Sauron, returning the ring to the jeweller because it needs resized, and might pick up some milk as well while he’s in the area.
So in conclusion is Teen Wolf Lovecraftian = yes
Does it fit the criteria laid out by works accepted to be Lovecraftian = yes
Does it follow the conventions of similar Lovecraftian works = yes
Is it the Lovecraftian conventions spread over such a large scope that cause so much dissatisfaction in the audience = yes
Almost every point in the list is something I’ve seen people complain about, we don’t know about this, we know nothing about that, that makes no sense, I think this episode would make more sense on hallucinogens etc
It is a well written Lovecraftian nightmare, it uses variant realities and isolation, suspicion and distrust well = but it tells us nothing, resolves very little and has a main character who could deliberately be replaced with a well meaning bag of sand.
But at least there were no tentacles.
69 notes
·
View notes
Text
Improve your English and spook yourself this Halloween
Are you in the mood to watch something spooky this Halloween? Grab some pillows and pop the popcorn! Halloween is the perfect time to sit on the sofa with friends (or alone if you’re brave) to watch a horror movie or two. Why not use this opportunity to practice your English listening skills as well?
There are tons of good and bad horror movies out there on Netflix, Hulu, or your other favorite streaming service. With so many options to choose from, you might not know where to start. So here’s a list of important horror movies from the past five decades to get you started. Keep in mind that these movies are adult-oriented. That means you should make sure the kids are asleep before you start watching. Happy viewing!
Horror Movies to Watch
1970s
The Exorcist (1973)
This supernatural horror film by William Friedkin— which is based on William Peter Blatty’s novel that is in turn loosely based on true events—has often been called the greatest horror movie ever made. It deserves the praise.
The film centers on a priest who is called to examine a young girl’s disturbing behavior. Her mother can’t find any medical or scientific explanation, and the priest concludes that the young girl, named Reagan, is showing signs of demonic possession. The priest requests the Catholic Church to send an expert priest to perform an exorcism (a religious ritual to remove an evil spirit from a person’s body). The devilish ordeal unfolds over the rest of the film.
The film famously uses complex visual and audio special effects as well as a chilling soundtrack to achieve moments of terror and disbelief. It has many memorable scenes, and the acting is excellent. If you only watch one film from this list, I recommend this one.
Halloween (1978)
John Carpenter directed and scored (wrote the music for) this genre-defining slasher film, which has led to many sequels and remakes. This includes the highly-praised 2018 direct sequel with the original lead actress, Jamie Lee Curtis, reprising (performing again) her role.
The film tells a story of an escaped mental institution patient named Michael Meyers who stalks and kills teenage babysitters in a small town one Halloween night. One by one, the babysitters fall until the last girl remains and fights back with everything she has.
Although it wasn’t the first in the slasher horror genre, Halloween is a hugely influential movie, paving the way and creating a blueprint for other slasher horror films like Nightmare on Elm Street and Friday the 13th.
Carrie (1976)
Carrie would the first of many film adaptations of novelist Stephen King’s bestselling work. In fact, Carrie was King’s first published novel.
Brian De Palma directed this story of supernatural suspense and horror about a seventeen-year-old girl who is bullied in high school. One day, she discovers that she has telekinetic powers (the ability to move objects with her mind). She uses this power to take revenge on the cruel classmates who humiliated her. The prom night scene is one of the most famous moments in the history of horror movies.
Also consider:
The Texas Chainsaw Massacre (1974) The Wicker Man (1973) The Omen (1976)
1980s
Creepshow (1982)
The best thing about Creepshow is that you don’t have to watch the whole film to enjoy it. The film comprises (consists of) five short dark comedy horror stories written by Stephen King and directed by George Romero. Creepshow isn’t a particularly good film by acting or film-making standards. It has the feeling of a comic book. Still, horror movie lovers will find a lot to enjoy here. It’s not too silly to be called a comedy, and it’s not too serious to be truly scary.
The Evil Dead (1981)
The Evil Dead follows five college students who stay the night in a cabin in a remote part of a forest. In the cabin, they listen to an audio tape which summons demons which possess their bodies. This film has a lot of gory (showing lots of violence or blood) special effects and make-up, which may be disturbing for some viewers.
Despite the very low budget used to make it, The Evil Dead lives on as a critical and fan favorite in the genre. The tight story drives viewers through a terrifying plot that gets more gruesome and tense with each passing scene.
The director, Sam Raimi, and lead actor, Bruce Campbell, went on to create two direct sequels, The Evil Dead II and Army of Darkness. Campbell plays the main role in both. Both sequels take a more comic approach than the first film. Developing a close relationship through their partnership, Campbell appears as a cameo character in all of Raimi’s films. Look for him in the Sam Raimi Spiderman trilogy films.
The Thing (1982)
John Carpenter made this science fiction horror film about a group of American researchers in Antarctica. They encounter “the thing”, an alien parasite which can take the shape of and imitate any person or creature which it absorbs. The researchers must fight against the parasite creature and their own sense of paranoia (false belief that other people are trying to harm you). The story becomes grimmer as the researchers lose trust in each other and realize that any of them could be an imitation. Kurt Russel plays one of the main characters here.
Although the film was released to negative reviews, it has grown in popularity over the years and is now considered a horror classic. It has been praised for its very impressive special effects and slow but steadily increasing suspense.
The alien is a terrible creature, but the main fear is not knowing which character is still human.
Also consider:
The Evil Dead II (1987) An American Werewolf in London (1981) Poltergeist (1982) The Fly (1986) Friday the 13th (1980) The Shining (1980) Prince of Darkness (1987) A Nightmare on Elm Street (1984)
1990s
Bram Stoker’s Dracula (1992)
Francis Ford Coppola directed this international renowned Gothic horror film which won Academy Awards for costume design, makeup, and sound editing. The story, of course, is a classic, based on the 1897 novel by Bram Stoker that built up the lore (traditional knowledge and beliefs) and mystery of Dracula, Van Helsing, and the vampire fantasy genre. Gary Oldman’s performance of Vlad Dracula might be the most impressive part of this film, but don’t ignore the excellent costumes, make-up effects, and background sets. Don’t miss out on Bram Stoker’s Dracula. It does a great job of telling this classic story in a unique way.
Francis Ford Coppola is a central figure in cinema, known especially for The Godfather series and Apocalypse Now.
Event Horizon (1997)
This science fiction horror film directed by Paul W.S. Anderson occurs in distant space. A group of astronauts go on a rescue mission near the planet Neptune when they suddenly find the Event Horizon, a spaceship that has long been missing. They board (get into or onto) the Event Horizon and discover that the entire crew is gone. They also find out that the ship’s engine is designed to open passages to another dimension. As they continue to look for the missing crew members, they realize that there is an evil presence on the ship.
Sam Neill is widely known for his role as Dr. Alan Grant in Jurassic Park. But he actually played a major role in Event Horizon and several other horror films—including another on this list, In the Mouth of Madness.
Scream (1996)
Scream is a slasher film directed by Wes Craven. The film stars a group of 90s TV and film celebrities (including Drew Barrymore, Neve Campbell, Courteney Cox, and others) who play high school students. A knife-wielding murderer wearing a ghost mask terrorizes the group, killing them off one by one. The film combines slasher horror with comedy and mystery elements. It also satirizes (makes fun of) clichés (common situations or characters) within the horror genre. The movie was very popular when it was released, and a series of sequels and films with similar stories were released thereafter.
Also, consider:
In the Mouth of Madness (1994) Army of Darkness (1993) The Blair Witch Project (1999) The Silence of the Lambs (1991) Candyman (1992) Tremors (1990)
2000s
Trick ‘r Treat (2007)
Trick ‘r Treat is an anthology (collection of art) film like Creepshow. It offers four different Halloween stories, but there is one character that appears across each of them. Every time one of the characters breaks a “rule” of Halloween, the character Sam shows up to show teach them a horrifying lesson. One reason you’ll love Trick ‘r Treat is that all the stories take place on Halloween, and the stories play on people’s expectations of Halloween customs and horror movie plots. It couldn’t be more a more perfect film to watch this season. All the stories are well-crafted, balancing a line of fun entertainment and scary thrills.
The Descent (2005)
The Descent is a British horror film about six adventure-seeking women who go spelunking (cave exploring) in a cave system. Inside the cave, they encounter a long-hidden group of bloodthirsty creatures who start to hunt them down.
The cave setting increases the tension since you know the characters have very few places to hide. Also, the moody soundtrack does a great job of building and holding suspense. This film also explores the characters’ flawed relationships and problems, adding a sense of personal development to this tale of monster horror.
The Mist (2007)
Frank Darabont directed this Stephen King science fiction horror adaptation. It follows a group of people who barricade themselves in a supermarket after a thick fog covers their entire small town. When anyone goes out into the fog, they are swept up or gruesomely attacked by monstrous insect-like creatures.
Although the monsters are huge threat to the characters, the film also explores the extreme tension between people as they struggle to survive the unnatural mist that drives them to the brink (edge) of sanity. The climax of the film is really remarkable.
Also consider:
Drag Me to Hell (2009) 28 Days Later (2002) Slither (2006) Let the Right One In (2008)
2010s
The Cabin in the Woods (2011)
The less I say about The Cabin in the Woods, the better. It follows a group of college students who visit a cabin in the woods, and you’ll just have to see the film to find out anything else. This is the kind of horror film where the surprise is the most rewarding part of the movie. I’ll just say this, the more horror movies you’ve seen in your life, the more you’ll appreciate The Cabin in the Woods.
Joss Whedon (Buffy the Vampire Slayer, Angel) wrote the screenplay for the film in just three days. The film has great special effects and make-up.
The Conjuring (2013)
The Conjuring is an expertly crafted supernatural horror film from director James Wan. It follows Ed and Lorraine Warren, a husband and wife team of paranormal (very strange events that can’t be explained by science) investigators, whose real-life reports have inspired many other horror films, like Annabelle and The Amityville Horror. In this film, the couple tries to help a family which recently moved into a severely haunted house in Rhode Island.
The chills (sudden feelings of fear) in The Conjuring are outstanding. The film does an amazing job of getting you to sympathize with the family and investigators’ plight (very bad situation) as they deal with the disturbing events taking place in the house.
The Conjuring is the first film in The Conjuring Universe, which includes direct sequels, the Annabelle series, and the newly released The Nun.
Get Out (2017)
Get Out is a landmark (very important achievement) of American horror films. The film is the directorial debut (first produced film) of Jordan Peele, a well-known comedian from his retired Comedy Central show, Key and Peele. It tells the story of an African-American man, played by Daniel Kaluuya, who goes to visit the family of his white girlfriend for the first time. While he stays at their home, he uncovers a horrifying secret.
Not only does the film tell an exceptional story of tension and terror, it spaces out the dread with moments of brilliant humor. Looking closely at the film, viewers will see how Jordon Peele addresses racism through the lens of (with the perspective of) a unique horror story while paying homage (respect based on previous work) to classics of the genre.
Also consider:
It Follows (2014) The VVitch (2015) It (2017) The Babadook (2014)
Some people might read this and think, why should I watch horror movies at all? I don’t like to be scared. Well, there’s not a perfect answer for that question. Your brain produces a mix of chemicals that makes you feel scared when you think something bad is going to happen. It’s the same as when you ride a roller coaster or do something else that takes you outside of your comfort zone.
If you enjoy suspense or the feeling of surprise that keeps you on the edge of your seat, then you can’t go wrong with any movie from this list for a great Halloween thrill. Just about all of them have received critical praise or have gone on to become fan favorites.
Moreover, watching movies can be a great way to improve your English! For one thing, you’ll get to hear English that isn’t coming from a textbook. The English spoken in movies is very natural, which means that it’s what you would hear from native English speakers. Second, when you watch a movie, you’ll develop a sense of the context around the dialogue. This means that you have chances to learn or guess vocabulary based on the situation. Finally, by hearing natural English in movies you can hear and see the way words are expressed. You can pay attention to body language, pronunciation, and reactions to understand what the characters really mean.
LASC faculty and staff always want to help students learn English in interesting ways. Teachers here would recommend you keep your dictionary by your side, turn on the English subtitles, and don’t worry about catching every word. Even rewind and repeat scenes if you’re using English movies to study. Watching movies, scary or not scary, can be a fun way to improve your English. You can also follow this blog for more great tips on learning English and living in southern California.
Talk to an LASC representative to learn how we can help you on your learning journey.
Read Original Article Here - https://lascusa.com/improve-your-english-and-spook-yourself-this-halloween/
2 notes
·
View notes
Text
Russian Forces Destroyed the Wild and Beautiful Art of Maria Prymachenko
Amid the intense battles that broke out approximately 50 miles northwest of Kyiv on February 25 during the Russian invasion of Ukraine, the Ivankiv Historical and Local History Museum was burned, according to The Kyiv Independent. “Another one of the irreparable losses of the historical-cultural authority of Ukraine is the destruction of the Ivankiv Historical-Cultural Museum by the aggressor in these hellish days for our country,” wrote the museum’s director in a message on Facebook. As a result, the Ukrainian Minister of Culture, Olexandr Tkachenko, requested that Russia lose its UNESCO membership.
It is not yet confirmed how many pieces in the museum’s holdings survive, but the destroyed artifacts reportedly include roughly 25 works by the celebrated Ukrainian artist Maria Prymachenko, who died in 1997 at the age of 88. Beloved for her saturated gouaches and watercolors on paper, Prymachenko was known to transform cultural motifs (yellow suns and graphic, stencil-like flowers) into vivid and wildly imagined narratives, in which elephants longed to be sailors, horses traveled to outer space, and villagers hijacked giant serpents. Today, nearly 650 of her works, dating from 1936 to 1987, are held by the National Museum of Ukrainian Folk Applied Art, in nearby Kyiv. Whether or not the Ivankiv museum was targeted intentionally, its loss is pointedly a blow to Ukraine’s cultural history, its collective spirit, its artistic soul.
Maiden Plays the Lute and Waits for her Beloved (1982)
Maria Prymachenko was born in 1908 close to Ivaniv, in the village of Bolotyna. Her father was a craftsman and carpenter; from her mother and grandmother, she learned Ukrainian arts of embroidery and hand-painting Easter eggs. From an early age, with no formal fine art training, Prymachenko began to create a way of working that stemmed from her encounters in forests and wildflower fields, surrounded by animals. It is easy to imagine her like a fairy-tale character following breadcrumbs, like one of her own invented animals undergoing a dark or brilliantly colored journey in the woods. Later in life, she would tell the story of how one day, while shepherding a gaggle of geese, she followed her cohorts to a little beach where she began to draw in the sand, discovering a layer of blue clay below the surface. Instinctively, she scooped up handfuls and brought it home, using it as a pigment to paint flowers on the interior walls.
Around 1936, Tetiana Floru, an artist from Kyiv, saw Prymachenko’s embroideries for sale in the Ivankiv market and invited her to join the Central Experimental Workshop of the Kyiv Museum of Ukrainian Art, an assembly of folk artists from all over the country. It was life-changing for Prymachenko, who in Kyiv underwent surgeries for complications from childhood polio that finally allowed her to walk. In 1936, her works were included in the First Republican Folk Art Exhibition in Kyiv, which later traveled to Moscow and Leningrad, and the following year some of her drawings were presented in the International Exhibition in Paris, where she received a gold medal and the blurb of a lifetime from Pablo Picasso.
“I bow down before the artistic miracle of this brilliant Ukrainian.” —Pablo Picasso
“I bow down before the artistic miracle of this brilliant Ukrainian,” Picasso reportedly said, visiting her exhibit in the same year he painted Guernica. Another admirer, Marc Chagall, also fell under the spell of her paintings: When he began to paint animals into his own magic realist scenes in his native Belarus, he called his creatures “the cousins of the strange beasts of Maria Prymachenko.” Other relatives in this imaginary zoo: the animal renderings of Henri Rousseau, Niki de Saint Phalle.
May That Nuclear War Be Cursed! (1978)
Back in Kyiv, Prymachenko met her fiancé, Vasyl Marynchuk, before he went to war, never to return. Her brother was shot dead by the Nazis. Prymachenko returned to Ivankiv as a single mother, working on a collective farm. She embroidered flowers against a black backdrop of a tablecloth and did not pick up her paintbrushes again until the late 1940s.
In the last decades of her life, as her work took a narrative turn, Prymachenko’s works were exhibited and published internationally. Reproductions of her paintings adorned Ukrainian stamps, and her headscarved likeness was featured on the Ukrainian silver coin. In 1966, she received the Taras Shevchenko National Prize of Ukraine, and in 1970, she was recognized as the People’s Artist of Ukraine, the country’s highest cultural honor. Her paintings also got progressively weirder. In addition to her lions, tigers, bulls, she painted villagers in full traditional dress standing at the well or carrying a harvest of turnips, maidens strumming lutes and pining for their beloved, old women yearning for lost years, drunks clustered around what at first glance appears to be a table, except the painting is titled Four Drunks Riding a Bird. Many of her works were inspired by dreams.
She signed her initials on the front of her paintings and inscribed the back side with enigmatic text that suggested greater stories in the realm of the new and surreal (Corncob Horse in Outer Space) and in the language of the locals (A Coward Went A-Hunting, Ivan Gave the Landlord a Ride In His Gig and Fell Inside). Like the revered 19-century artist, poet, and national cultural hero Taras Shevchenko, she summoned the language of the people and a deep love for their places, which she embedded with mystery. In her painting of Taras Shevchenko, the poet is depicted on his return from exile after being convicted for promoting his country’s independence and writing, in its language, how he longed to be buried “in my beloved Ukraine…amid the boundless steppes.” Prymachenko painted him heavily mustachioed, looking a little stunned, and surrounded by flowers.
Taras Hryhorovych Shevchenko Arrives From His Exile to Flowering Ukraine (1968)
Prymachenko’s works are not exclusively political, but she did create paintings of resistance, particularly a stretch in the late seventies Brezhnev years. Our Army Our Protectors, from1978, prefigures a war in which ordinary citizens are taking up arms, in which parents are making Molotov cocktails with their children and fortifying their windows with books and newspapers. Also in 1978, she painted a heavily ornamented pink lion whose tongue is a double-forked bright green serpent—May That Nuclear War Be Cursed! In her 1982 work May I Give This Ukrainian Bread to All People In this Big Wide World, a woman in ornamental dress stands at center, holdilng out a basket, as giant sunflowers appear to spring from her head, radiating outward into a brilliant blue background.
This week, David Remnick wrote in The New Yorker, “Putin’s assault on a sovereign state has not only helped to unify the West against him; it has helped to unify Ukraine itself.” If an attack on the Ivankiv museum was carried out by intent—if it was meant to eradicate cultural memory and weaken its identity—it has had the opposite effect. Since news of the blast spread, images of Prymachenko’s works are proliferating everywhere, like so much Ukrainian bread scattered out into the big wide world.
Follow Rebecca Bengal on Twitter.
This content was originally published here.
0 notes
Photo
100. Suspiria (1977, Dario Argento)
99. Yeelen (1987, Souleymane Cissé)
98. Strike (1925, Sergei Eisenstein)
97. The Man Who Sleeps (1974, Bernard Queysanne)
96. A Field in England (2013, Ben Wheatley)
95. Platform (2000, Jia Zhangke)
94. Seven (1995, David Fincher)
93. Death by Hanging (1968, Nagisa Oshima)
92. The Wicker Man (1973, Robin Hardy)
91. Begotten (1991, E. Elias Merhige)
90. Encounters of the Spooky Kind (1980, Sammo Hung)
89. F for Fake (1973, Orson Welles)
88. Possession (1981, Andrzej Zulawski)
87. M (1931, Fritz Lang)
86. The Dante Quartet (1987, Stan Brakhage)
85. A Colt Is My Passport (1967, Takashi Nomura)
84. Stroszek (1977, Werner Herzog)
83. Kill Bill Vol. I & II (2003 / 2004, Quentin Tarantino)
82. Heroic Purgatory (1970, Yoshishige Yoshida)
81. The Hole (1998, Tsai Ming-liang)
80. The Strange Vice of Mrs. Wardh (1971, Sergio Martino)
79. The 'Burbs (1989, Joe Dante)
78. Le Samouraï (1967, Jean-Pierre Melville)
77. Riki Oh: The Story of Ricky (1991, Lam Nai-choi)
76. Burst City (1982, Sogo Ishii)
75. A Woman Under the Influence (1974, John Cassavetes)
74. The Shout (1978, Jerzy Skolimowski)
73. Go, Go Second Time Virgin (1969, Kōji Wakamatsu)
72. Deadbeat at Dawn (1988, Jim van Bebber)
71. Phase IV (1974, Saul Bass)
70. Spring in a Small Town (1948, Fei Mu)
69. Hausu (1977, Nobuhiko Ôbayashi)
68. Walkabout (1971, Nicolas Roeg)
67. Faster, Pussycat! Kill! Kill! (1965, Russ Meyer)
66. Pastoral: To Die in the Country (1974, Shūji Terayama)
65. Point Break (1991, Kathryn Bigelow)
64. Side/Walk/Shuttle (1991, Ernie Gehr)
63. The Thing (1982, John Carpenter)
62. Wake in Fright (1971, Ted Kotcheff)
61. The Seasons (1974, Artavazd Peleshian)
60. Noisy Requiem (1988, Yoshihiko Matsui)
59. Maborosi (1995, Hirokazu Koreeda)
58. Femmes de Sade (1976, Alex de Renzy)
57. The Texas Chain Saw Massacre (1974, Tobe Hooper)
56. Daisies (1966, Vera Chytilová)
55. Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975, Chantal Akerman)
54. Viy (1967, Konstantin Yershov & Georgi Kropachyov)
53. Black Narcissus (1947, Powell & Pressburger)
52. Broadway Danny Rose (1984, Woody Allen)
51. Taxi Driver (1976, Martin Scorsese)
50. My Winnipeg (2007, Guy Maddin)
49. Come and See (1985, Elem Klimov)
48. Persona (1966, Ingmar Bergman)
47. A Scene at the Sea (1991, Takeshi Kitano)
46. The Mirror (1997, Jafar Panahi)
45. Inland Empire (2006, David Lynch)
44. Eden and After (1970, Alain Robbe-Grillet)
43. Only Yesterday (1991, Isao Takahata)
42. Blow Out (1981, Brian De Palma)
41. Funeral Parade of Roses (1969, Toshio Matsumoto)
40. Cannibal Holocaust (1980, Ruggero Deodato)
39. Le Pont du Nord (1981, Jacques Rivette)
38. She Spent So Many Hours Under the Sun Lamps (1985, Philippe Garrel)
37. The 400 Blows (1959, François Truffaut)
36. 2001: A Space Odyssey (1968, Stanley Kubrick)
35. Unfaithful Wife: Shameful Torture (1992, Hisayau Sato)
34. Playtime (1967, Jacques Tati)
33. Palms (1993, Artur Aristakisyan)
32. Akira (1988, Katsuhiro Otomo)
31. City Lights (1931, Charlie Chaplin)
30. Upstream Color (2013, Shane Carruth)
29. Singapore Sling (1990, Nikos Nikolaidis)
28. Few of Us (1996, Šarūnas Bartas)
27. A Summer at Grandpa's (1984, Hou Hsiao-Hsien)
26. Crumb (1994, Terry Zwigoff)
25. Late Spring (1949, Yasujiro Ozu)
24. Man with a Movie Camera (1929, Dziga Vertov)
23. Lemonade Joe (1964, Oldřich Lipský)
22. Woman in the Dunes (1964, Hiroshi Teshigahara)
21. Out 1, noli me tangere (1971, Jacques Rivette)
20. Zerkalo (1975, Andrei Tarkovsky)
19. Taste of Cherry (1997, Abbas Kiarostami)
18. Hard Boiled (1992, John Woo)
17. Before Sunset (2004, Richard Linklater)
16. This Night I'll Possess Your Corpse (1967, Jose Mojica Marins)
15. The Beyond (1981, Lucio Fulci)
14. Drunken Master II (1994, Lau Kar-leung)
13. It's Such a Beautiful Day (2012, Don Hertzfeldt)
12. Evil Dead II (1987, Sam Raimi)
11. Baraka (1992, Ron Fricke)
10. Evolution of a Filipino Family (2004, Lav Diaz)
09. Tetsuo: The Iron Man (1989, Shinya Tsukamoto)
08. The Passion of Joan of Arc (1928, Carl Theodor Dreyer)
07. Chungking Express (1994, Wong Kar-wai)
06. El Topo (1970, Alejandro Jodorowsky)
05. Soy Cuba (1964, Mikhail Kalatozov)
04. Fight Club (1999, David Fincher)
03. Seven Samurai (1954, Akira Kurosawa)
02. Ere Erera Baleibu Icik Subua Aruaren (1970, Jose Antonio Sistiaga)
01. Sátántangó (1994, Bela Tarr)
Länk
8 notes
·
View notes
Photo
Women’s History Month began as a week-long celebration by in Sonoma, California in 1978 which was centered around International Women’s Day on March 8. A year later during a women’s history conference at Sarah Lawrence College, participants learned how successful the week was and decided to initiate similar in their own areas. President Carter issued the first proclamation for a national Women’s History Week in 1980. In 1987, Congress (after being petitioned by the National Women’s History Project) passed Pub. L. 100-9 designating March as Women’s History Month. U.S. Presidents have issued proclamations on Women’s History Month since 1988.
Here at the UCF Libraries, we have created a list of suggested (and favorite) books about women’s history in both fact and fiction. Please click on the read more link below to see the full list with descriptions and catalog links.
Almost Astronauts: 13 Women Who Dared to Dream by Tanya Lee Stone
What does it take to be an astronaut? Excellence at flying, courage, intelligence, resistance to stress, top physical shape, any checklist would include these. But when America created NASA in 1958, there was another unspoken rule: you had to be a man. Here is the tale of thirteen women who proved that they were not only as tough as the toughest man but also brave enough to challenge the government. They were blocked by prejudice, jealousy, and the scrawled note of one of the most powerful men in Washington. But even though the Mercury 13 women did not make it into space, they did not lose, for their example empowered young women to take their place in the sky, piloting jets and commanding space capsules.
Suggested by Jamie LaMoreaux, Acquisitions & Collections
Enter Helen: the invention of Helen Gurley Brown and the rise of the modern single woman by Brooke Hauser
Chronicles the rise of a cultural icon who redefined what it means to be an American woman. In 1965, Helen Gurley Brown, author of the groundbreaking bestseller Sex and the Single Girl, took over an ailing Cosmopolitan and soon revamped it into one of the most bankable--and revolutionary--brands on the planet. At a time when women's magazines taught housewives how to make the perfect casserole, Helen spoke directly to the single girl next door, cheekily advising her on how to pursue men, money, power, pleasure, and, most of all, personal happiness. Bringing New York City vibrantly to life during the sexual revolution and the women's movement, and featuring a rich cast of characters, including Hugh Hefner and Gloria Steinem, Enter Helen is the riveting story of a polarizing pioneer who bucked convention to define her own destiny, baiting a generation that both revered and rejected her.
Suggested by Richard Harrison, Subject Librarian
Fight like a Girl: How to be a Fearless Feminist by Megan Seely
Fight Like A Girl offers a fearless vision for the future of feminism. By boldly detailing what is at stake for women and girls today, Megan Seely outlines the necessary steps to achieve true political, social and economic equity for all. Reclaiming feminism for a new generation, Fight Like A Girl speaks to young women who embrace feminism in substance but not necessarily in name.
Suggested by Mary Rubin, Special Collections & University Archives
Flow: The Cultural Story of Menstruation by Elissa Stein
Flow spans its fascinating, occasionally wacky and sometimes downright scary story: from mikvahs (ritual cleansing baths) to menopause, hysteria to hysterectomies - not to mention the Pill, cramps, the history of underwear, and the movie about puberty they showed you in 5th grade.
Suggested by Megan Haught, Teaching & Engagement/Research & Information Services
Girls to the Front: The True Story of the Riot Grrrl Revolution by Sara Marcus
Girls to the Front is the epic, definitive history of Riot Grrrl—the radical feminist uprising that exploded into the public eye in the 1990s and included incendiary punk bands Bikini Kill, Bratmobile, Heavens to Betsy, and Huggy Bear. A dynamic chronicle not just a movement but an era, this is the story of a group of pissed—off girls with no patience for sexism and no intention of keeping quiet.
Suggested by Carrie Moran, User Engagement Librarian
Juliette Gordon Low : the remarkable founder of the Girl Scouts by Stacy A. Cordery
In celebration of the Girl Scouts' centennial, this biography is a salute to its maverick founder. Born at the start of the Civil War, Juliette Gordon Low grew up in Georgia, where she struggled to reconcile being a good Southern belle with her desire to run barefoot through the fields. Deafened by an accident, "Daisy" married a dashing British aristocrat and moved to England. But she was ultimately betrayed by her husband and dissatisfied by the aimlessness of privileged life. Her search for a greater purpose ended when she met Robert Baden-Powell, war hero, adventurer, and founder of the Boy Scouts. Captivated with his program, Daisy aimed to instill the same useful skills and moral values in young girls, with an emphasis on fun. She imported the Boy Scouts' sister organization, the Girl Guides, to Savannah in 1912. Rechristened the Girl Scouts, it grew rapidly because of her unquenchable determination and energetic, charismatic leadership. In this biography, the author paints a dynamic portrait of an intriguing woman and a true pioneer whose work touched the lives of millions of girls and women around the world.
Suggested by Richard Harrison, Subject Librarian
Letters to Alice on First Reading Jane Austen by Fay Weldon
Alternating between passages from Jane Austen’s novels and accounts of her own career, Weldon reveals the connections between art and life, and charts Alice’s trajectory from unpublished writer to celebrated author, her success ultimately outstripping that of her famous “aunt.” Letters to Alice puts Austen’s works into a contemporary perspective as it explores the craft of writing fiction, the pitfalls of publishing too early, the conventions that stifle the creative impulse, and more. In paying tribute to Austen, Weldon opens an illuminating window onto reading, writing, and why literature matters.
Suggested by Jamie LaMoreaux, Acquisitions & Collections
Little Women by Louisa May Alcott
Lovely Meg, talented Jo, frail Beth, spoiled Amy: these are hard lessons of poverty and of growing up in New England during the Civil War. Through their dreams, plays, pranks, letters, illnesses, and courtships, women of all ages have become a part of this remarkable family and have felt the deep sadness when Meg leaves the circle of sisters to be married at the end of Part I. Part II, chronicles Meg's joys and mishaps as a young wife and mother, Jo's struggle to become a writer, Beth's tragedy, and Amy's artistic pursuits and unexpected romance. Based on Louise May Alcott's childhood, this lively portrait of nineteenth-century family life possesses a lasting vitality that has endeared it to generations of readers.
Suggested by Cindy Dancel, Research & Information Services
Mercury 13: the true story of thirteen women and the dream of space flight by Martha Ackmann
In 1961, just as NASA launched its first man into space, a group of women underwent secret testing in the hopes of becoming America's first female astronauts. They passed the same battery of tests at the legendary Lovelace Foundation as did the Mercury 7 astronauts, but they were summarily dismissed by the boys' club at NASA and on Capitol Hill. The USSR sent its first woman into space in 1963; the United States did not follow suit for another twenty years. In addition to talking extensively to these women, Ackmann interviewed Chuck Yeager, John Glenn, Scott Carpenter, and others at NASA and in the White House with firsthand knowledge of the program, and includes here never-before-seen photographs of the Mercury 13 passing their Lovelace tests. Despite the crushing disappointment of watching their dreams being derailed, the Mercury 13 went on to extraordinary achievement in their lives: Jerrie Cobb dedicated her life to flying solo missions to the Amazon rain forest; Wally Funk went on to become one of the first female FAA investigators; Janey Hart had the political savvy to steer the women through congressional hearings and later helped found the National Organization for Women.
Suggested by Jamie LaMoreaux, Acquisitions & Collections
My Life, My Love, My Legacy by Coretta Scott King
The life story of Coretta Scott King--wife of Martin Luther King Jr., founder of the King Center for Nonviolent Social Change, and singular twentieth-century American civil rights activist--as told fully for the first time, toward the end of her life, to one of her closest friends. Coretta's is a love story, a family saga, and the memoir of an independent-minded black woman in twentieth-century America, a brave leader who stood committed, proud, forgiving, nonviolent, and hopeful in the face of terrorism and violent hatred every single day of her life.
Suggest by Missy Murphey, Subject Librarian
My Life on the Road by Gloria Steinem
Gloria Steinem had an itinerant childhood. Every fall, her father would pack the family into the car and they would drive across the country, in search of their next adventure. The seeds were planted: Steinem would spend much of her life on the road, as a journalist, organizer, activist, and speaker. In vivid stories that span an entire career, Steinem writes about her time on the campaign trail, from Bobby Kennedy to Hillary Clinton; her early exposure to social activism in India, and the decades spent organizing ground-up movements in America; the taxi drivers who were "vectors of modern myths" and the airline stewardesses who embraced the feminist revolution; and the infinite, surprising contrasts, the "surrealism in everyday life" that Steinem encountered as she traveled back and forth across the country.
Suggested by Carrie Moran, User Engagement Librarian
Odd Girls and Twilight Lovers by Lillian Faderman
As Lillian Faderman writes, there are "no constants with regard to lesbianism," except that lesbians prefer women. In this groundbreaking book, she reclaims the history of lesbian life in twentieth-century America, tracing the evolution of lesbian identity and subcultures from early networks to more recent diverse lifestyles. She draws from journals, unpublished manuscripts, songs, media accounts, novels, medical literature, pop culture artifacts, and oral histories by lesbians of all ages and backgrounds, uncovering a narrative of uncommon depth and originality.
Suggested by Missy Murphey, Subject Librarian
Olivia by Dorothy Strachey
Captures the awakening passions of an adolescent girl sent away for a year to a small finishing school outside Paris, where she develops an infatuation for her headmistress. Although not strictly autobiographical, Olivia draws on the author’s experiences at finishing schools run by the charismatic Mlle. Marie Souvestre, whose influence lived on through former students like Natalie Barney and Eleanor Roosevelt. Olivia was dedicated to the memory of Strachey’s friend Virginia Woolf and published to acclaim in 1949. In 1999, Olivia was included on the Publishing Triangle’s widely publicized list of the 100 Best Gay and Lesbian Novels of the 20th Century.
Suggested by Megan Haught, Teaching & Engagement/Research & Information Services
Olivia by Ian Falconer
A new and unexpected heroine emerges with the irresistible Olivia. Olivia is a spunky little pig with an abundance of energy and enthusiasm. Her daily activities of singing the loudest of songs, creating art on walls, and building skyscrapers do not tire her in the least. Rather, when it is time for bed, she asks for a plethora of books to be read! Olivia's mom, on the other hand, is drained. Parents and kids alike will marvel at Olivia's abounding energy and her mom's abounding patience and love.
Suggested by Susan MacDuffee, Acquisitions & Collections
Queen Victoria: A Personal History by Christopher Hibbert
The unearthing of lively, telling anecdotes is the special province of Christopher Hibbert, who delights in forcing readers, in the most entertaining way, to reassess all their notions about some of the world's most intriguing historical figures. His biography of Victoria is no exception. We learn in these pages that not only was she the formidable, demanding, capricious Queen of popular imagination, but she was also often shy and vulnerable, prone to giggling fits and crying jags. Often puritanical and censorious when confronted with her mother's moral lapses, she herself could be passionately sensual, emotional, and deeply sentimental. Her 64-year reign saw thrones fall, empires crumble, new continents explored, and England's rise to global and industrial dominance. Hibbert's account of Victoria's life and times is just as sweeping as he reveals to us the real Victoria in all her complexity: failed mother and imperious monarch, irrepressible woman and icon of a repressive age.
Suggested by Peggy Nuhn, Regional Librarian
Rise of the Rocket Girls: The Women Who Propelled Us, from Missiles to the Moon to Mars by Nathalia Holt
In the 1940s and 50s, when the newly minted Jet Propulsion Laboratory needed quick-thinking mathematicians to calculate velocities and plot trajectories, they didn't turn to male graduates. Rather, they recruited an elite group of young women who, with only pencil, paper, and mathematical prowess, transformed rocket design, helped bring about the first American satellites, and made the exploration of the solar system possible.
Suggested by Megan Haught, Teaching & Engagement/Research & Information Services
Savage Beauty: The Life of Edna St. Vincent Millay by Nancy Mitford
If F. Scott Fitzgerald was the hero of the Jazz Age, Edna St. Vincent Millay, as audacious in her love affairs as she was in her art, was its heroine. She embodied, in her reckless fancy, the spirit of the New Woman, and gave America its voice. Nancy Milford was given exclusive access to Millay's papers, and what she found was an unimaginable treasure. Hundreds of letters flew back and forth between the three sisters and their mother - and Millay kept the most intimate diary, one whose ruthless honesty brings to mind the journals of Sylvia Plath.
Suggested by Larry Cooperman, Research & Information Services
When God Was a Woman by Merlin Stone
Documents the ancient worship of the great creator Mother Goddess under a diversity of names and details the rewriting of myths, the recasting of rituals and religious doctrines, and the transformation of the Goddess into a wanton, depraved figure by invading patriarchal tribes.
Suggested by Megan Haught, Teaching & Engagement/Research & Information Services
Women in early America: Struggle, survival and freedom in a New World by Dorothy Mays
"Women in Early America: Struggle, Survival, and Freedom in a New World "provides insight into an era in American history when women had immense responsibilities and unusual freedoms. The coverage begins with the 1607 settlement at Jamestown and ends with the War of 1812. In addition to the role of Anglo-American women, the experiences of African, French, Dutch, and Native American women are discussed. The issues discussed include how women coped with rural isolation, why they were prone to superstitions, who was likely to give birth out of wedlock, and how they raised large families while coping with immense household responsibilities.
Suggested by Peggy Nuhn, Regional Librarian
You Learn by Living: Eleven Keys for a More Fulfilling Life by Eleanor Roosevelt
Eleanor Roosevelt, one of the world’s best loved and most admired public figures, offers a wise and intimate guide on how to overcome fears, embrace challenges as opportunities, and cultivate civic pride: You Learn by Living. A crucial precursor to better-living guides like Mark Nepo’s The Book of Awakening or Robert Persig’s Zen and the Art of Motorcycle Maintenance, as well as political memoirs such as John F. Kennedy’s Profiles in Courage, the First Lady’s illuminating manual of personal exploration resonates with the timeless power to change lives.
Suggested by Carrie Moran, User Engagement Librarian
For information about the whole host of Women’s History Month events at UCF, please visit the UCF Office of Diversity and Inclusion Women’s History Month site.
#women's history month#ucf library#ucf libraries bookshelf#booklr#ucf#tanya lee stone#brooke hauser#helen gurley brown#megan seely#elissa stein#sara marcus#stacy a cordery#fay weldon#louisa may alcott#martha ackmann#coretta scott king#gloria steinem#lillian faderman#dorothy strachey#ian falconer#christopher hibbert#nathalia holt#nancy mitford#merlin stone#dorothy mays#eleanor roosevelt
9 notes
·
View notes
Text
Music Post: American music for strings
There was a golden age of classical music from 1850 to 1890 in the German-speaking lands of Europe. The leisure classes were eager to hear new works, and the hot performers of the day, including the old Liszt, the young Brahms and Clara Schumann, all on piano, Joseph Joachim on violinist, and several acclaimed quartets, were welcome, indeed expected, to play new works.
That nurturing of classical music, especially chamber music, happened later in Paris when the wealthy wives of industrialists would feed and water artists and musicians at Sunday soirees, collectively producing an incubation area for French composers.
In more recent generations we have seen Britain become a congenial place for community orchestras and bands, leading to, among other things, a large body of listenable British string music. The Naxos label has been recording this sort of thing and has gone above half a dozen releases without any sign of running out of material.
America incubated movie music and jazz and rock, but its classical concert audiences have remaining mostly interested in fresh performances of core repertory, which is to say, music written for Vienna in 1860 and Paris in 1910.
It’s big country, though, and there is more than enough American music for strings, to a two-hour episode of “Howard’s Day Off” with it.
Roy Harris (1898-1979) is remembered mainly as a symphonist, and there are some godawful recordings of Harris chamber works, seemingly designed to bury them. Finally, however, there are some new recordings which, among their many fine attributes, are in tune. Harris’s Third Quartet is an interesting work. Instead of the usual four movements it is a collection of preludes and fugues. We’ll open the first hour with the first prelude, and start the second hour with the third fugue.
William Schuman (1910-1992), a student of Harris who often sounds like Harris on a sugar high, is also remembered principally for his orchestral music (and his tenure as genial administrator of Juilliard and Lincoln Center) but wrote several quartets. We’ll hear the finale of the second one.
Elliott Carter (1908-2012) was also a genial man but most of his music wasn’t. He treated composition as an arithmetic problem and wrote tons of stuff that is far too important to enjoy. But his 1943 “Elegy,” originally for viola and piano but later scored for strings, speaks from the heart and can be enjoyed without a math degree.
Arthur Foote (1853-1937) is the composer most to be missed if you never hear music by pre-Gershwin Americans. Foote managed to remain innocent of an 1870s European education, and seemed more enthralled by Bach then late Romantic sorts.
John Alden Carpenter (1876-1951) is remembered chiefly for the witty “Adventures in a Perambulator,” a suite describing a baby stroller walk in the park from the point of view of the baby, and most listeners who later encounter his “Skyscrapers” are astonished by the different style. But Carpenter was a craftsman who avoided getting into a rut. We’ll hear the finale of his 1927 quartet.
Benjamin Lees (1924-2010) was a Russian born in China, but by the age of five he was a music student in San Francisco. He would later teach at Peabody in the 60s and at Juilliard in the 70s. Lees’ music is rhythmic but without the clichés of Americana. We’ll hear the third movement of his 2002 Fifth String Quartet.
Samuel Barber was just a boy when he decided to be a composer – a letter to his mother about this survives – so it should be no surprise that his mature style us evident in his Op. 1, “Serenade for Strings.” We’ll hear the first movement.
George Gershwin (1898-1937) died of brain cancer in his late thirties or we might have a lot more fine classical music. His “Lullaby for String Quartet” is marvelous.
David Diamond (1915-2005) was a nasty man who wrote astringent symphonies, but one particular exception stands out, “Rounds for String Orchestra.” We’ll hear one movement.
Dave Brubeck (1920-2012) used his West Coast conservatory training mostly to develop an advanced form of jazz, but his also composed classical music, and his “Chromatic Fantasy” is excellent both in solo piano and quartet form.
Aaron Copland (1900-1990) wrote little chamber music, but his “First Piece for String Quartet” has its points.
Peter Mennin (1923-1983), the buttoned-down president first of Peabody and then of Juilliard, wrote symphonies and concertos distinguished mainly by fierce propulsion. His slow movements tend to be suspenseful. We’ll hear the second movement of his second quartet.
John Adams (1947- ) wrote the masterpiece of the Minimalist movement, a sextet, and later for string orchestra, “Shaker Loops.” We’ll hear the finale of the fuller version of this 1978 work.
Wynton Marsalis (1961- ), the third generation jazz musician who returned to those roots after a remarkable career as a classical trumpet player, is the director of jazz at Lincoln Center. His first quartet, “At the Octaroon Balls,” is jazz-inflected classical music and it totally works.
Virgil Thomson (1896-1989), longtime music for the New York Herald-Tribune, would later make a symphony of his second quartet, which we here sample in its original version.
Robert Moran (1937- ), an early collaborator with Philip Glass, has written some interesting works that seem to occupy the space between Minimalist and Post-Minimalist. His “Points of Departure” is a good orchestral example; for quartet, I refer you to “Music from the Towers of the Moon,” adapted from a film score. The opening movement is the music over which I read underwriting credits each weekend.
(Howard Dicus hosts “Howard’s Day Off” on Hawaii Public Radio’s HPR-2, 5am-7am HST Saturdays, with a replay at 5pm-7pm HST Sundays. If you join the Howard’s Day Off Listener Appreciation Society on Facebook you’ll see cue sheets for the programs along with advance notice of the following weekend’s topic.)
0 notes
Text
10 notes
·
View notes
Text
113 notes
·
View notes
Text
38 notes
·
View notes
Text
44 notes
·
View notes
Text
11 notes
·
View notes
Last Seen Blogs
ryemjay
big yeet
strangerthingspolls
polls about stranger things!!!
teh-ambivalent-eccentric
Oh Hai Der
yuzmutlugunn
#100happydays
futshop
fut edits