Posts tagged film

Posted 1 month ago




Coraline is a masterfully made film, an amazing piece of art that i would never ever ever show to a child oh my god are you kidding me

Nothing wrong with a good dose of sheer terror at a young age

"It was a story, I learned when people began to read it, that children experienced as an adventure, but which gave adults nightmares. It’s the strangest book I’ve written"

-Neil Gaiman on Coraline

Show this movie and other existentially scary movies to kids. I promise, they can handle it. Often better than you can, typical adult, and it’s developmentally important to explore scary ideas. It allows for a safe way to practice, in one’s head, how to react to real scary stuff in life.

(Note: Existentially scary stories that are age appropriate, like this movie. Not every horror movie on the block.)

Posted 5 months ago

Dear Sirs:

I have just seen the film Lifeboat, directed by Alfred Hitchcock and billed as written by me. While in many ways the film is excellent there are one or two complaints I would like to make. While it is certainly true that I wrote a script for Lifeboat, it is not true that in that script as in the film there were any slurs against organized labor nor was there a stock comedy Negro. On the contrary there was an intelligent and thoughtful seaman who knew realistically what he was about. And instead of the usual colored travesty of the half comic and half pathetic Negro there was a Negro of dignity, purpose and personality. Since this film occurs over my name, it is painful to me that these strange, sly obliquities should be ascribed to me.

John Steinbeck wrote this letter to 20th Century Fox in 1944! (via roscoemcnally)

Hollywood has been doing this for a long time.

(via racebending)

john steinbeck wasnt perfect by any means either, but it is telling that he objected so strongly to the script

Posted 6 months ago
Say what you will about restrictions on sex and violence in films, censoring movies did have at least one positive effect: It meant that writers and directors had to work harder to keep the audience’s interest. This can be painfully obvious when it comes to female characters. Irene Adler, for example, was a complex, clever antagonist who outsmarted Sherlock Holmes in the 1891 story she appeared in. In the 2012 television adaptation, Irene has morphed into a one-dimensional seductress who first appears on screen in the nude and who flummoxes Sherlock with her boobies. And why not? A good chunk of the viewing audience is going to be satisfied with having a naked lady on the screen, so there’s no need to waste energy giving her a personality. “Your lines? Hell, I don’t know. Just make some grunting noises or something.”
When Cracked thinks something is up with your portrayal of women, something is definitely up with your portrayal of women.

(Source: goryghastlymeanandcruel)

Posted 7 months ago


lilo and stitch: in 1 hr 25 min they show two sisters who have organic, natural fights that spring about from taking stress out on each other, taking grief out on each other, growing up too fast, loss, financial issues and issues with the law. show sisters overcome it with a scifi/fantasy element introduced in the series. sisters spend majority of movie together, their adventure is together and their love is proven through little acts throughout the entire series, even in how they deal with conflict, rather than spoonfed to the audience thru dramatic scenes and magic-induced conflict. dude love interest isn’t someone nani has barely known, he is a good supportive friend who takes an active role in caring for her sister.  nani does not in any way prioritize any crushy feelings for him over lilo or her own priorities in life and they also  never need to kiss or get a song together or have any overtly romantic stuff going on for people to see they’re special to each other.

frozen: I”’M SorRRY  i FUUCKked UP SO BAdd„ I’m TRSHASH.,.„  

Posted 11 months ago
Posted 1 year ago



High Tide- Animation Short

I swear this is the cutest thing ever

Posted 1 year ago
I plan on documenting the rise in prominence of fake nerd girls and their effect on the push in modern media towards a fascist matriarchal state of suppression of the male.
Junior Film Studies Major Submitted by Anonymous
Posted 1 year ago



this song talks to me like a me from the future and past

where is this from??

(Source: infrarad)

Posted 1 year ago




A loving family.

Loved this movie.

This movie always gave me so many feels as a kid.

my favorite <3

No guys, I need to stop and talk about something in this movie and how fucking revolutionary it was; something that I haven’t seen in a movie before or since.

This is a movie about a kid who leaves her birth family.

Not a kid who find that they have a secret lineage or something that allows them to find their ‘true family’ - this is a movie about a kid whose true birth family is made up of bad people. So she gets out. And that is played as the right thing to do. She isn’t punished for it or made to feel bad about ‘abandoning her family’. There isn’t an underlying ‘but they’re your family and you have to love them’ or ‘they’re your family and they love you even if they don’t show it well or do hurtful things’ message of the kind that I see OVER AND OVER AND OVER AND OVER in media. Matilda gets out and livess happily ever after because of it.

We need a million more movies like this to counter the metric shit ton of movies that directly counter this message.

(Source: trick-mun)

Posted 1 year ago
But it’s disappointing that in a movie devoted to explaining the abolition of slavery in the United States, African-American characters do almost nothing but passively wait for white men to liberate them. For some 30 years, historians have been demonstrating that slaves were crucial agents in their emancipation; however imperfectly, Ken Burns’s 1990 documentary “The Civil War” brought aspects of that interpretation to the American public. Yet Mr. Spielberg’s ‘Lincoln’ gives us only faithful servants, patiently waiting for the day of Jubilee. This is not mere nit-picking. Mr. Spielberg’s “Lincoln” helps perpetuate the notion that African Americans have offered little of substance to their own liberation. While the film largely avoids the noxious stereotypes of subservient African-Americans for which movies like “Gone With the Wind” have become notorious, it reinforces, even if inadvertently, the outdated assumption that white men are the primary movers of history and the main sources of social progress.

Kate Masur

She’s an associate professor of history at Northwestern University, and wrote this review of the film Lincoln for The New York Times. Quote above is an excerpt.

This review is why I will be skipping the film. (Actually, I was already not too interested in going.) Sure, Steven Spielberg is a great director. I actually like some of his films. He’s talented. Sure, Daniel Day Lewis and Sally Fields are great actors. But this is not about who is “talented” or not. That’s really not the point. (For some reason, possibly a part of the annoyance that is the theory of American “exceptionalism,” being “talented” is license to do whatever someone wants without contextual repercussions.)

Hollywood films are often propagandist and seek to whitewash and alter history (or reinforce stereotypes, or both) under creative license and do so for a viewing public that is grossly uneducated about the facts (and process many films as history lessons), or if educated, reject the reality of the complex history that is Black and White people in America. And, though it will have nice costumes, production design, art direction, makeup, cinematography and good overall film direction, I am just not in the mood for the context/theme of this. I’m rather tired, actually. So I will skip this film.

Oh, and before people who refuse to think suggest that I am calling Spielberg racist, and then of course they’ll mention The Color Purple…just…NO. Read her review. Read the last line of this quote. Sometimes “well meaning” people create propaganda that harms as well. (Kola Boof suggested the same thing in her response to Cynthia Mort.) 

(via gradientlair)

Posted 2 years ago


From A Series of Unfortunate Events DVD commentary track.

if you haven’t watched this film with the commentary then you are missing out, it’s hilarious. “Lemony Snicket” was completely unhappy with the film and wanted no real part of it and so in the commentary he just fucks about. Seriously, at one point he gets out an accordion and drowns out the director with his playing


My hero

“I have been Caucasian for nearly all of my life”

Posted 2 years ago


Big and Loud - Cat’s Don’t Dance

Hey guys remember when there was a 1997 animated movie with a thinly not at all veiled plot about systemic oppression and erasure of minorities in Hollywood, aimed at children?

Posted 2 years ago


Colorlines: Quietly Radical Mission at Sundance: Supporting Native Filmmakers

by Jamilah King | Friday, January 20 2012

It’s days before the Sundance Film Festival and Aurora Guerrero is busy. The 40-year-old filmmaker is set to debut her first feature-length project “Mosquita y Mari” at the festival in Park City, Utah, on Saturday, but it’s Wednesday and she finds herself in Los Angeles preparing to get in front of the camera for a television spot on up-and-coming filmmakers to watch.

It’s not exactly a standard Hollywood story. Her independent film is a teenage love story between two Chicana best friends who grow up in South East Los Angeles’ vibrant immigrant community. It relied largely on a grassroots funding campaign to raise money for production. But those facts have helped to lock in her place on the year’s indy film radar. When asked if there’s any one person who helped make all of it happen, she doesn’t hesitate.

“Bird,” Guerrero says. “Bird Runningwater.”

Bird, it turns out, is the director of Native American and Indigenous Programs at the Sundance Institute. In that capacity, and along with program manager Owl Johnson, Bird oversees NativeLabs, an innovative fellowship program that works with indigenous screenwriters and directors to help produce and show work that isn’t easy to see elsewhere. 

Guerrero recounts Bird’s steady and persistent guidance. He helped mentor her through re-writing drafts of her script, which was over a decade in the making. And when it was time to go into post-production, it was Bird who nominated her for a prestigious TimeWarner fellowship to help carry the film across the finish line.

“He’s been behind a lot of indigenous filmmakers of color who are saying something different through contemporary cinema,” Guerrero says about Bird.

In an industry that struggles to include even more visible communities of color, like black actors and directors, indigenous artists often find it difficult to get support for their work. But Bird represents someone within an established institution who’s making it happen. Forget the status quo. There are indigenous stories to tell and there are people already telling them. It all goes to show that with the right support, our media landscape can be as forthcoming and representative as the people it purports to serve.

“I think that some of the most exciting films down the road are going to come from native filmmakers,” Bird says. “Our job is to help find those filmmakers and help them make their stories the strongest they can be.”

The Sundance Institute has maintained a commitment to native filmmakers since its inception in 1981. But that mission was bumped up a notch in the late 90s when it held a series of workshops for native filmmakers at UCLA. In 2008, NativeLabs became more intentional about its outreach and process by instituting a two-pronged approach: immersion in a native community and exposure to Sundance itself. Each year, a group of native filmmakers work on their craft at the Mescalero Apache reservation in New Mexico and then screen their work at the Sundance Film Festival. Bird estimates that a total of 70 filmmakers have gone through the program.

“I really believe in the ability and talent of our native people,” Bird says, noting that the process of filmmaking has become much more accessible in recent years with advancements in technology.

Sterlin Harjo is another indigenous filmmaker who’s gone through NativeLabs. He premiered his feature, “Barking Water,” at Sundance in 2008 and calls Bird “the unsung hero of indigenous film.”

“There’s a lot of institutions out there that try to promote native films and native filmmakers,” Harjo says. “But they do it from the outside-in. It’s approached in this very institutionalized way.”

Sundance, he says, is different in that it relies on native filmmakers to support other native filmmakers. “There’s no museum-type feel to it,” Hardjo continues. “It’s not like there’s people looking at your work and trying to analyze it,” Harjo says, alluding to the popular ways in which indigenous filmmakers have their lives and work scrutinized.

That’s an important selling point for many native filmmakers, who do their creative work in the face of decades of racist caricatures promoted by Hollywood.

“It’s taken Hollywood a long time to realize that you can have a narrative fiction film that just happens to have native characters in it,” says Elise Marrubio, an associate professor of American Indian Studies at Augsburg College in Minneapolis. Marrubio also directs the college’s Native American Film Series. “There’s a cultural perception of what a film with native people should look like, and that stereotype has been very hard to break down.”

And then there’s the business of filmmaking. When the economic crisis hit in 2009, Guerrero needed to find a new producer for her film. Bird helped her land Chad Burris, who grew up in Oklahoma before setting out for law school in Los Angeles.

“It’s crazy difficult,” Burris said about securing funding for the film. “You don’t have any big name actors, you don’t have a very recognizable audience, you don’t have a lot of the things that you need to get financed.” But he says he was motivated by the project’s bigger goals. “It’s allowed someone that’s got a fresh voice to tell a story that otherwise may not get told.”

The message is having an impact.

“We are now in a moment in our world where native people are saying ‘no longer do we want people making films about us as if they know us,’” Marrubio says. “We’re going to decide what stories we want to tell, how they want to tell them, and we’re going to make the movies.”

Posted 3 years ago


Time Story available at RedBubble




Time Story available at RedBubble


Posted 3 years ago