#Hitchcock 2012 | Explore Tumblr posts and blogs

pompadourpink · 30 days ago

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hi mom ik you're a big fan of cinema and im lookign for new movies to watch, can u share your top 4? thank uuu

Oh dear, you're killing me.

Phantom of the Paradise - Brian de Palma (1974), a musical and the lovechild of the myth of Faust, the Phantom of the Opera, and the Shining (the soundtrack is to die for).

La Folie des Grandeurs - Gérard Oury (1971), an adaptation from a play (by the author of les Mis) about politics, the Court of Spain, love, greed - I've been in love with the lackey my whole life.

The Seventh Seal - Ingmar Bergman (1957), the story of a medieval soldier playing chess against Death to save his life (and a great source of relief when my head was playing against me).

The 101 Dalmatians - Stephen Herek (1996), not quite auteur cinema but my favourite comfort movie, at first a great reminder of how peaceful life without modern day tech was, then an amazing love story, then an investigation, a fantastic cast, perfect villains, many dogs, great music, my whole heart on a platter.

I will make a longer list and you cannot stop me:

Rear Window - Alfred Hitchcock (1954), where a photographer stuck at home after an accident grows suspicious of a neighbour whose wife has disappeared.

La Jetée - Chris Marker (1962), an experimental sci-fi short movie made by one of my favourite directors, about the scientific experiments done on a man to save the world, that later inspired Terry Gilliam's Twelve Monkeys (that could also be on this list).

Anything? (Seven chances, Cops, The Cameraman) - Buster Keaton (1920s), my second favourite director and a firework on legs who was never afraid of a stunt.

The Host - Bong Joon Ho (2006), where lab waste thrown into the sea creates a monster that kidnaps a girl, forcing her good for nothing father to finally do something with his life.

Death becomes her - Robert Zemeckis (1992), where two middle-aged actresses fight for a man, get blinded by their desire for youth and cross paths with magic and murder.

The Rocky Horror Picture Show - Jim Sharman (1975), the meeting between a young old school couple and a group of weird creatures in a mansion (including my husband Tim Curry).

Pride and Prejudice - Joe Wright (2005), of course.

Body Snatchers - Philip Kaufman (1978), one of the four adaptations of the book and the best one in my opinion, the story of people mysteriously disappearing and returning changed and a tale about human passion.

Old boy - Park Chan-Wook (2003), the visually stunning and heartbreaking story of a man randomly kidnapped, kept somewhere for years, then released without a word.

Minority Report - Spielberg (2002), a dystopian movie about a world where the efforts of science and exploitation have put an end to criminality, at a great price.

Sleeping Beauty - Disney (1959), the most beautiful one, the only one with a composer's music, one of the best villains.

The Age of Adaline - Lee Toland Krieger (2015), the story of a woman who stopped aging and navigates the world while trying to not get caught or catch feelings.

Planet Terror - Robert Rodriguez (2007), an unserious tale of zombies, a virus, and Rose McGowan's pew pew leg.

Home alone 2 - Chris Columbus (1992), for Christmas in New York, Tim Curry, the toy store's owner, and the pigeon lady.

Electrick children - Rebecca Thomas (2012), where a Mormon teenager gets pregnant with the child of God after listening to a tape and runs away to Vegas to find the dad.

And many more I'm afraid. Hope you will like those! x

#ask #personal

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nalyra-dreaming · 4 months ago

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The writing on Eric’s chair is most likely Hitchcock. It’s the same font as the logo for the 2012 film Hitchcock. They blur it out cuz of copyright reasons and so AMC doesn’t accidentally advertise another studio product.

Maybe. We'll see :) (maybe^^)

#Anonymous #ask nalyra #eric bogosian

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cinemaocd · 7 months ago

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Movies I watched in March 2024

Under the Cherry Moon (1986)** I'm Not There (2007)*** Jingle All the Way (1996)* Three Graves to Cairo (1943)** Hitchcock (2012) ** Silent Partner (1978)** Possession (2002)** Oppenheimer (2023)** Oscar Wilde (1960)** Turning Point: The Cold War and the Bomb (2024)** Anselm (2023)*** 24 Hour Party People (2002)** Two of Us (1999)*** Remains of the Day (1993)*** Doubt (2008)*** Dune (1984)*** Dune Part II (2024)***

Under the Cherry Moon (1986)** Absolute bobbins of a script is still beautiful to look at, very gay and of course mainly a vehicle for Prince's music. Under the Cherry Moon was the follow up to Purple Rain. It was a box office flop, a critical failure that earned Razzie nominations, but is a worth another look. Prince and Jerome Beton are sex workers with a rich female clientele on the French Riviera, the kind of career that only exists in movies. Kristin Scott Thomas makes her film debut as the debutante who comes between the friends and threatens to part them. Prince's death scene, harkens back to Camille with Prince playing Garbo. Like Garbo, Prince was happy to exploit his own androgyny and like Garbo, he was doomed to only explore that in a way that could be squeezed into heteronormative films.

I'm not There: (2007)*** A fascinating look at Bob Dylan, dividing him into six personae played by six different actors. Haynes uses different film styles, the Cate Blanchett mid Sixties Dylan of Bringing it All Back Home and Blonde on Blonde is matched in style with the black and white cinematography of D.A. Pennebaker's Don't Look Back. It also has elements of the Italian Surrealists like Felinni or Antonioni with a scoch of A Hard Day's Night. The soundtrack is particularly good, avoiding for the most part, the licensing pitfalls that plagued Haynes' Bowie biopic, Velvet Goldmine. Some of the most effective moments of I'm Not There, pair landscape shots with Dylan's music. Given the catalogue and the array of talent, Haynes has gathered, one perhaps expects a bit more , but then that has always been Dylan's nature, he's mysterious and aloof, leaving us wanting more.

Jingle All the Way (1996)* We watched this Christmas movie in March because we recently learned that part of it was filmed at my son's elementary school. It had Jake Lloyd somehow being more annoying than he was in the Phantom Menace as a bonus. Phil Hartman got dragged into this unfunny mess as well.

Three Graves to Cairo (1943)** Tense war time drama about a British officer who gets trapped behind the lines and ends up hiding out in a hotel working as a waiter for Field Marshall Rommel. Billy Wilder ratchets up the tension, his script giving all the best lines to Rommel, played by Erich Von Stroheim who really owns the film though Anne Baxter and Franchot Tone nominally "star."

Hitchcock (2012)** Hichcock's struggle to make Pyscho dramatized with fantasies where he hangs out with Ed Gein, while Alma Hitchcock gets involved in a Hitchcockian romance with a hack writer. Scarlett Johannson plays an almost deliberately obtuse Janet Leigh and James Darcy captures pre-Psycho Tony Perkins. It's a bit silly but I'll never turn down Helen Mirren and Anthony Hopkins in anything. This has a slight, arch feel to it, like many of Hitchcock's pictures, but lurking underneath are the ordinary hates and passions of a man who fears being left behind, at the height of his career. For his long-suffering wife's part, she too feels she's being replaced by the young actresses that Hitchcock is obsessed with at the moment. The conclusion is sweet enough for the Hayes office: husband and wife rediscover the magic of their working relationship, which was always the rock upon which their relationship was built.

The Silent Partner (1978)** With Elliott Gould, Christopher Plummer and Susannah York in the cast, this should have been better. Decent heist plot that devolves into slasher film . Christopher Plummer takes on the dubious mantels of playing a villain in a piss-poor American action film and a cross-dressing murderer.

Possession (2002)** A rather thin adaptation of a great novel, A.S. Byatt's story of two modern academics who disover a previous hidden romance between two Victorian poets. The film lacks the poetry of the novel, which I think is necessary for the story to have its full impact, but the film is full of plenty of jabs at academia as well as burning passions. Gweneth Paltrow and Aaron Ecklund play the young couple, while Jeremy Northam and Jennifer Ehle play the poet/lovers. Tom Hollander has a small but memorable part as does Toby Stephens.

Oppenheimer (2023)** My least favorite half of Barbenheimer still damn good and the physics nerd in me reveled in seeing my dead physicist boyfriends on screen. There are better films about Oppenheimer's life (BBC did a mini series starring Sam Waterston and it's on youtube) but something about the dreamy quality of Nolan's film captures that quantum mystery kinda vibe and put it in a blockbuster package. Cool.

Oscar Wilde (1960)** Preceded the landmark film Crisis by one year, without the world shaking honesty that film managed, around the topic of homosexuality and the law. Both films hinged on blackmail of a gay man but Oscar Wilde is careful to skirt around explicit mentions of sexuality, using tricks like showing the dictionary definition of "sodomy" briefly on camera. More was needed and more was achieved a year later. Ralph Richardson contributes to the courtroom scenes admirably and Morley is a terrific Wilde, who would rather make point for style than save himself from prison.

Turning Point: The Cold War and the Bomb (2024)** Fascinating background to our current situation, most of which is terrifying and now I'm worrying about the bomb again. I took off a star for the sheer number neo-con/Reaganite talking heads in this...

Anselm (2023)*** Wim Wenders stirring mostly visual documentary about Anselm Kiefer, a German artist who has explored his childhood memories of post war Germany in a frank and intimidatingly in your face way, on a massive scale combining sculpture, painting and physical spaces, many of which he has engineered himself. As a middle aged person who feels estranged and terrified to look more deeply into her own childhood, Anselm was something to sit with for two hours.

24 Hour Party People (2002)** Steve Coogan plays Tony Wilson, the Manchester TV personality and club owner who helped launch the careers of Joy Division, New Order and The Happy Mondays. Coogan has a tendency to make all his characters Alan Partridge and this is no exception, but it kind of works? It did more to get me to listen to Joy Division that numerous goth roommates ever could...

Two of Us (1999)*** I can't stop watching this made for VH-1 fanfiction of a movie starring Jared Harris and Aidan Quinn as John Lennon and Paul McCartney, dramatizing a probably apocryphal tale that John and Paul met up in NYC in the 70s when Paul was playing Madison Square Garden. Pure fluff and nonsense. I need it like air.

Remains of the Day (1993)*** Revisiting this old favorite and finding that it's kind of pacey and funny for a Merchant Ivory pic. The movie that made me love Tony Hopkins as an actor, his Stevens is really such a fascinating, ostensibly tragic character and yet there is a weird kind of triumph to living one's life so completely to a schedule and a code, and yet never being to eliminate desire and feeling.

Doubt (2008)*** This is the second Philip Seymour Hoffman movie I've watched in the last few months that has left me utterly haunted. Like The Master, Hoffman creates a villain who charms the audience at the same time you know that he's probably done unforgivable things and is only at the start of a long career of doing unforgivable things. Meryl Streep gives a heavy handed performance (Streep never met a colloquial accent that she didn't wear like a Groucho Marx nose) that certainly gets the point across that unpleasant people usually aren't the bad guys you want them to be. Amy Adams plays a naive young nun who, like the audience, is left wondering what to believe.

Dune (1984)*** Unapologetic Lynch Dune lover here. I love the cheesy acting, the wild tonal shifts, and the attempts to put this sprawling multibook epic in the Star Wars shaped box that the studio wanted him to use. My favorite scene has become Lynch's cameo, he seems so happy just pretending to be a spice miner, in his little spice mining suit in his little unconvincing space ship. I love him and this whole stupid mess. Sorry Frank Herbert.

Dune Part II (2024)*** My prediction is that Villeneuve's probable trilogy will--like so many franchises--peak in the second film. The first part was a slow-moving visual feast, that only hinted at the potential of this cast. Things actually start moving in the plot and Chalamet's Paul does his best to cope. Unlike MacLachlan's avuncular Atreides, who takes being a Messiah as just being another Tuesday of being the Universe's Most Gifted Child, he actually seems conflicted. Zendaya continues to utterly dominate every time she's on screen. Can Channi be the focus of the movie? Please?

#Adventures in Film Watching #Movies I've watched 2024 #sorry I keep changing the format of this what am I doing???

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algebraicvarietyshow · 11 months ago

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és nem jut eszembe, csak holnap, amit mondani kellett volna

gondolkoztam, hogy haladni kéne a korral és egy 2023-as lemezlistát már egy mesterséges intelligencia is meg tudna írni (nyilván ha beletáplálnánk a megfelelő információt). és valóban, ennél az összeállításnál én is egyre inkább támaszkodom számszerűsíthető adatokra, pl. az év végi spotify-statisztikákra, de azért ez még mindig egy kézművesen összerakott lista a hozzáadott humán faktorral, például a spotify szerint 2023-ban általam legtöbbet hallgatott boygenius a 2. helyre fért fel (mert nyilván az is számít például, hogy mi mikor jött ki, meg a beazonosíthatatlan egyedi érzések, ami így karácsony napján eszembe jut az egyes albumokról).

első ránézésre az idei lista (is) remekül befér a "sad indie" kategória műfaji áttekintésének, sajnos az első helyen végző posztumusz (több mint tíz évvel mark linkous halála után kijött) sparklehorse-album pedig ezt bizonyos értelemben megkoronázza, többek közt az egyik legtorokszorítóbb pillanattal, de azért még erre a lemezre se mondanám, hogy kizárólag szomorkodásról szólna, pl. milyen jó energikus ez a robyn hitchcock-feldolgozás. (aki adakozó kedvében volt sallai laci felhívására, olvashatott többet is a lemezről.) a listakészítés történetében az is egyedülálló, hogy egy alkotó két lemezét egy helyre soroltam be végül: a national számomra igazán fontos előadó az elmúlt tizenegynéhány évből, és mind a két idei lemezen találtam nekem sokat jelentő számokat, de közben kicsit úgy is vagyok vele, hogy a kettő helyett lehetett volna egy igazán ütős idei lemez, talán kicsit kevesebb kollaborációval (bocsánat, de a taylor swift-es szám pl. nekem semmit nem mondott, és ez most nem taylorról egy kijelentés, hanem erről a konkrét alkotásról).

szóval jöjjön 17 (18 igazából) jó lemez 2023-ból (a cappuccino projekt az 2022-ből igazából, de mivel december közepén jött ki, idén volt bemutatva és amúgy is idén hallgattam többet, a recordert követve én is az idei listára teszem), mindenhonnan ajánlva egy számot:

13-17. belle and sebastian: late developers 13-17. the clientele: i am not there anymore 13-17. kurt vile: back to moon beach ep 13-17. nation of language: strange disciple 13-17. sufjan stevens: javelin

12. káltes ekwa: átváltozások 11. beach fossils: bunny 10. soccer mommy: karaoke night ep 9. cappuccino projekt: az utak kifürkészhetetlenül rögösek 8. caroline polachek: desire, i want to turn into you 7. the national: first two pages of frankenstein / laugh track 6. yo la tengo: this stupid world 5. wilco: cousin 4. galaxisok: minket ne szeress! 3. slowdive: everything is alive 2. boygenius: the record 1. sparklehorse: bird machine

és! még! voltak! jó koncertek is idén! (mindenféle feljegyzéseim szerint többre jutottam el, mint 2017 óta bármikor.) szóval jön a folytatás.

[korábban: 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013 pt. 1, pt. 2, 2012, 2011]

#2023 #lemezek #karácsony

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fanofspooky · 2 years ago

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Hitchcock posters

#horror #horror movies #horror movie #movie posters #posters #movie poster #poster #Hitchcock movie #Hitchcock 2012 #alfred hitchcock’s psycho #alfred hitchcock #psycho 1960 #janet leigh

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poppypickle · 6 months ago

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Half-Finished Fic Fest

Back with more old fic. I think I wrote this around 2012, probably as a fill for this prompt during a Gossip Girl promptathon:

No, no, I think it's more like a ghost That's been following us both Something vague that we're not seeing Something more like a feeling

I think I never posted because I felt like others had already done post-canon Dair reunions more justice. But begone, self-doubt!

There's a dream in my brain that just won't go away Dan/Blair 1162 words

Blair tells herself she's happy. Because happy is what happens when your dreams come true, right? When you get everything you ever wanted? Yes, of course she is happy.

She does not think about what ifs — does not imagine any other path but the one she has chosen. No Frost-ian ruminations about roads less traveled for her (no poetry whatsoever, in fact). Because what would be the point? She has finally (finally) won Chuck's heart, and Blair is blissfully, perfectly happy thankyouverymuch.

It's just… Maybe she expected the happiness to feel a little bit different. To be less heavy.

But it does not do to dwell, so Blair clutches the sparkling diamond ring around her neck until it leaves angry red imprints on her palm, and reminds herself that she is very, very happy.

***

Dan tells himself he's over her. He dabbles in revenge for a little while, writing nasty tell-all essays about everyone in his life and hoping they will fill the aching hole inside of him where her pithy insults about his hair used to be. He lets it all drain out of him like a thick, infected puss until he wakes up one morning and discovers there's nothing left but a nasty scar. And suddenly, he is sad instead of angry.

So Dan throws himself into new pursuits — he re-enrolls at NYU, gets another internship, dates as many tall blondes and redheads as his schedule allows. He rents a new apartment and does his best not to feel sentimental when he finds three of her DVDs and a pot of La Mer face cream tucked away in the bedside table he's cleaning out.

Tossing everything into the garbage with a purposefully casual flick, Dan thinks of Blair only in the abstract. They were together until they weren't. It was wonderful until it wasn't. Until she decided it wasn't.

Whatever, he's over it.

***

It's five years later when they see each other again, at a Saturday Film Forum matinee, of all places. Blair hears herself calling out his name before she can stop herself, and when Dan turns around he looks so perfectly like himself (messy hair, a knowing half smile pulling at his lips) that it nearly takes her breath away.

It takes four long strides for him to reach her, and just like that Dan Humphrey is standing in front of her again, two steaming cups of coffee clasped in his hands. For a split second, Blair imagines that they are 22 again and that one of those cups is for her. She flicks the thought away with a sharp intake of breath.

"Blair," Dan says finally, and it comes out far gentler than she expects. "Are you here to see Rebecca?"

"Of course," she says, fidgeting idly with the edges of her skirt. She forces her fingers to still against her thighs. "It's a classic."

"Hitchcock's best, some might say."

"Some might say. Not me."

Dan smiles in spite of himself. "North by Northwest is still your favorite I assume?"

Blair cocks her head to the side. "And you preferred –"

"Vertigo," he nods.

She smirks in spite of herself. "You always did have a weakness for blondes."

"A long time ago," he acknowledges.

"How have you been?" she asks, and it seems like such a silly thing to say that she finds a blush creeping up her cheeks. But Dan just tilts his head to the side and smiles.

"I'm good," he says simply. "How are you? How's work? Chuck?"

"Work is wonderful, busier than ever," Blair smiles. “And Chuck is…Somewhere in Europe right now, I think. It didn't work out."

Dan's eyes crinkle. "I'm sorry. I didn't know."

She shrugs it off with a wave of her hand. "It's fine."

They hold each other’s gaze for a moment before Dan murmurs, “I only ever wanted you to be happy, you know…”

It’s such a Dan Humphrey thing to say. A shade too earnest. A little wounded. Perfectly sincere.

Blair feels a lump rise in her throat. She opens her mouth to reply, but just then a petite woman with an auburn bob slides up next to Dan with two matching striped bags of popcorn in her hands.

“The line was so long. I hope all the good seats aren’t taken.”

Dan seems to startle ever-so-slightly before remembering himself and sliding his eyes away from Blair to smile down at the other woman. He fumbles with the coffee cups in his hands, passing one to her as he takes one of the bags of popcorn in between his long fingers.

"Blair, this is Tess. Tess, Blair. Blair and I…went to high school and college together."

Blair’s eyebrows lift before she can stop them, but she quickly schools her face into something more neutral. “Nice to meet you.”

"Are you seeing the movie?” Tess asks, her smile wide and bright. “I'm a Hitchcock virgin."

Blair purses her lips, an insult on the tip of her tongue before she catches Dan's knowing smirk and stops herself. "Well you'll love Rebecca. It's the only one of his movies that ever won Best Picture.”

"That's what Dan was saying."

"Go grab us some seats and I’ll be right in,” Dan says, and Blair tries not to notice the way he puts his hand against the small of Tess’ back before she walks away.

“Girlfriend?” Blair asks after a moment, when it’s just the two of them again.

“Not yet.” Then, “It’s new.”

“But it could be something?” she presses, unable to stop herself.

“Lots of things could be something,” Dan says vaguely, scuffing the toe of his shoe against the floor. Then he lifts his chin to look her right in the eyes. “If you get the timing right.”

They stare at each other for a few long moments before Blair finally says, “It was good to see you.”

Dan looks like he wants to say something else, but then he seems to think better of it. “Yeah, you too,” he says, then turns toward the theater doors.

Blair rocks back and forth on her kitten heels, staring at Dan’s back as he walks away. When he opens the doors and starts to disappear inside, she hears Joan Fontaine utter that haunting first line.

Last night I dreamt I went to Manderley again.

Blair sucks in a sharp breath and turns away from the theater. She’s not in the mood for a movie after all.

***

Four hours and two glasses of wine later, Blair texts him, her fingers trembling over her phone. Maybe he doesn’t even have the same number.

Funny thing, I wasn’t happy.

Dan’s reply comes almost immediately.

Funny thing, I thought I was over you.

Blair bites the inside of her cheek, her heart racing as her fingers hover over the phone keyboard. Then:

Maybe we could get the timing right this time.

Maybe we could.

Want to get coffee tomorrow, Waldorf?

I thought you’d never ask, Humphrey.

#dair #dan x blair #blair x dan #dan humphrey #blair waldorf #my fic #half-finished fic fest

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mischievouslittlecreature · 8 months ago

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Hello 🌻

hope you are having fun during your holiday :)

So... I noticed in your bio you describe yourself as a film snob, and I was curious if you could put together a list of films you believe everyone should watch. It doesn't matter whether they're niche films or d'essai or blockbuster, I used to adore going to cine-forums and watch every kind of genre, they always leave you something to bring home

Thank you! <3

(Sorry for the ramble, but I'm stuck in bed for the next couple of weeks with way too much free time, and I figured I might as well put it to good use! xD )

Ohhh my god, Ari, you have no idea just how badly I wanna hug you right now. Films and filmmaking are one of my special interests and I could literally talk your ear off about the industry!

Please keep in mind that these are just my personal picks/opinions, and I am almost certainly forgetting a few because I'm doing this off of memory. I'm also not including any films that I haven't seen yet (there are a few classics that I embarrassingly just somehow never got around to seeing that are currently in my watchlist) so if you notice any strange omissions that's why. Please keep in mind that I tend to prefer dark, pessimistic films, so this list is going to reflect that.

If you'd like specific recommendations, wish for me elaborate anymore on any of these films, or want a part 2 to this, please let me know!

Also, I recently got a Letterboxd account back in December, so if you want to see what I've been watching recently, give me a follow over there!

Under a read more because this got LONG.

Alien (1979, Dir. Ridley Scott)

Aliens (1986, Dir. James Cameron)

Anthropoid (2016, Dir. Sean Ellis)

The Banshees of Inisherin (2022, Dir. Martin McDonagh)

Batman Begins (2005, Dir. Christopher Nolan)

Black Swan (2010, Dir. Darren Aronofsky)

Children of Men (2006, Dir. Alfonso Cuaron)

A Clockwork Orange (1971, Dir. Stanley Kubrick)

Clue (1985, Dir. Jonathan Lynn)

The Dark Knight (2008, Dir. Christopher Nolan)

The Dark Knight Rises (2012, Dir. Christopher Nolan)

Dune Part I (2021, Dir. Denis Villeneuve)

Dunkirk (2017, Dir. Christopher Nolan)

Get Out (2017, Dir. Jordan Peele)

The Godfather (1972, Dir. Francis Ford Coppola)

The Godfather Part II (1974, Dir. Francis Ford Coppola)

Inception (2010, Dir. Christopher Nolan)

Interstellar (2014, Dir. Christopher Nolan)

The Lord of the Rings: The Fellowship of the Ring (2001, Dir. Peter Jackson)

The Lord of the Rings: The Return of the King (2003, Dir. Peter Jackson)

The Lord of the Rings: The Two Towers (2002, Dir. Peter Jackson)

Memento (2000, Dir. Christopher Nolan)

Molly's Game (2017, Dir. Aaron Sorkin)

The Nightmare Before Christmas (1993, Dir. Henry Selick)

No Country for Old Men (2007, Dir. Joel Coen & Ethan Coen)

Oppenheimer (2023, Dir. Christopher Nolan)

Platoon (1986, Dir. Oliver Stone)

The Prestige (2006, Dir. Christopher Nolan)

Psycho (1960, Dir. Alfred Hitchcock)

Pulp Fiction (1994, Dir. Quentin Tarantino)

Rear Window (1954, Dir. Alfred Hitchcock)

The Shining (1980, Dir. Stanley Kubrick)

The Silence of the Lambs (1991, Dir. Jonathan Demme)

Spotlight (2015, Dir. Tom McCarthy)

Titanic (1997, Dir. James Cameron)

12 Years a Slave (2013, Dir. Steve McQueen)

28 Days Later (2002, Dir. Danny Boyle)

Zero Dark Thirty (2012, Dir. Kathryn Bigelow)

#asks #films #laur's film recs

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rabbitcruiser · 9 months ago

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The Coit Tower was added to the National Register of Historic Places on January 29, 2008.

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sunnydalestudies · 2 years ago

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Wrestling with Whedon

Welcome, Scooby Gang!

When we discuss Buffy the Vampire Slayer, it’s impossible to ignore its creator, Joss Whedon. Once considered a nerd god, his fall from grace has stunned fans, leaving them just as heartbroken as those of the Harry Potter franchise. But let’s start from the beginning: who is Joss Whedon? Many consider Whedon the auteur of BtVS, a term used to denote “a film director who influences their films so much that they rank as their author” (OED); think here of Alfred Hitchcock. Although all of Whedon’s projects, including BtVS, were brought to life by an army of creatives, Whedon is still credited as the creator and sometimes writer and director, rendering his name and contributions inseparable from these projects.

Joss Whedon might be one of the worst nepotism babies of television writing, with his grandfather being a writer on shows such as The Andy Griffith Show and The Golden Girls being among his father’s projects. Growing up in New York City, Whedon lived a life of luxury, attending Winchester College, a British boarding school, and graduating from Wesleyan University in Connecticut. Although this all sounds like a peaceful and privileged life, Whedon has also come out to say that his parents “ran the home as though they were in the thick of” “a writers’-room battle” and that if he or his brothers “weren’t funny or entertaining or agreeing with them, they would cut [them] down or turn to stone” (Vulture). Because of his childhood experiences, Whedon says that “he suffers from complex post-traumatic-stress disorder” (Vulture); yet, despite not wanting to discredit his trauma, I don’t believe that this excuses him for how he went on to treat others in his life.

In the 1990s and 2000s, Whedon’s career steadily grew and his cult following of fans with it. With projects such as Buffy the Vampire Slayer (1992, 1997-2003), Angel (1999-2004), Toy Story (1995), Alien Resurrection (1997), Firefly (2002), Serenity (2005), Dr. Horrible’s Sing Along Blog (2008), and Dollhouse (2009-10), Joss Whedon became a god and a king among nerds and the comic-book artist Scott R. Kurtz even designed a highly successful shirt in 2005 that read “Joss Whedon is my Master Now.” Even within the workplace, “a sort of cult of personality formed around Whedon” where “the standard reaction to Joss was worship” (Vulture). During this time, many of Whedon’s projects did not succeed to the extent that many believed they should have, beginning with the “painful” interpretation of his vision for the original BtVS movie, as Kai Cole, his ex-wife, put it (The Wrap), and continuing through to the mishandling and cancellation of Firefly. As a Vice article puts it:

“The culture of liking Joss Whedon was at this point already about defending him from various enemies—networks who canceled his shows, actors who he claimed said his lines incorrectly, or improvised too much. [...] His success was a symbol of success for liberal nerds everywhere, a sign that comic books and genre fiction could be taken seriously by the world at large. If you were wrapped up in that fandom, any criticism of Whedon became an attack on everything that nerds love, and it’s a dynamic that doesn’t exist only in the past tense.” (Vice)

This passionate and often obsessive fanbase aided Whedon’s breakthrough into mainstream culture in the early 2010s, when, within a single year, Whedon released three very different yet successful projects: The Cabin in the Woods (2012), a horror movie satire, Much Ado About Nothing (2012) a black and white DIY production of a Shakespeare classic, and The Avengers (2012), the renowned Marvel superheroes film. This year marked the height of Whedon’s career, with his following projects slowly marking his downfall.

In 2015, with the release of The Avengers: Age of Ultron, Whedon encountered his first backlash and the first indications of flaws in his feminism. Viewers labelled the film as sexist because of a scene where Black Widow claims to be monstrous since she cannot bear children. Two years later, in 2017, Whedon’s scrapped 2006 Wonder Woman script leaked, and those who read it once again saw his portrayal of female superheroes as sexist, this time regarding his script as a nerd’s wet dream. Later that same year, Kai Cole, Whedon’s ex-wife, released a public statement about her relationship with Whedon and revealed his numerous affairs and over a decade of lying. In this article, Cole explains that they met in 1991 and were married for over twenty years before separating. In this time, spanning the most successful years of Whedon’s career, Kai Cole says: “I loved him. And in return, he lied to me. A lot” (The Wrap). Cole believes that “he used his relationship with [her] as a shield [...] so no one would question his relationships with other women or scrutinize his writing as anything other than feminist” (The Wrap). Whedon even did the opposite and used his feminist reputation as a defence in his marriage when Cole was at times “uncomfortable with the attention Joss paid other women” (The Wrap). She elaborates that “he always had a lot of female friends, but he told me it was because his mother raised him as a feminist, so he just liked women better. He said he admired and respected females, he didn’t lust after them. I believed him and trusted him” (The Wrap). Sadly, Whedon’s later projects—and even earlier projects, although viewers did not notice it—revealed that he did not solely admire and respect strong female characters but sexualized them for his own satisfaction.

Whedon’s reputation as a feminist was so strong that he had even previously received awards for his feminist efforts, notably when “Equality Now gave him an award in 2006—presented by Meryl Streep—for his efforts as a male feminist” (Vice). Cole wanted to correct this vision of Whedon, who, as she says, “never conceded the hypocrisy of being out in the world preaching feminist ideals, while at the same time, taking away [her] right to make choices for [her] life and [her] body based on the truth” (The Wrap). In the end, Cole only desired to warn against the previously normalized worship of her ex-husband and explained, “I want to let women know that he is not who he pretends to be. I want the people who worship him to know he is human, and the organizations giving him awards for his feminist work, to think twice in the future about honouring a man who does not practice what he preaches” (The Wrap). Cole’s statement was the fandom’s wake-up call, but many continued worshiping Whedon, simply acknowledging that he was human and made mistakes. At this point, all we knew was that he cheated on his wife—it was sad, but it was not anything out of the ordinary for celebrities and the average person alike.

Over the years, more women have come forward to share their experiences with romantic or sexual relationships with Joss Whedon. In Cole’s article, she says that Whedon had his first affair on the set of Buffy the Vampire Slayer, and years later, after coming clean about this, he told her, “I was surrounded by beautiful, needy, aggressive young women. It felt like I had a disease, like something from a Greek myth. Suddenly I am a powerful producer and the world is laid out at my feet and I can’t touch it” (The Wrap). Whedon has used this feeling of helplessness as an excuse for his mistreatment of the women of BtVS numerous times, explaining elsewhere that “he had felt he ‘had’ to sleep with them, that he was ‘powerless’ to resist” (Vulture). If this reminds you of rapists blaming their actions on their victims’ clothing, professions, or behaviours, saying they couldn’t control themselves, you’re not the only one. Even as a younger man at university, “he admired strong women like his mother, yet he’d discovered he was capable of hurting them, ‘usually by sleeping with them and ghosting or whatever’” (Vulture). In the accounts from women who dated Whedon after his marriage ended, “he was not the hero they had read about in the press, the one who wanted to see women in control; he was more like the cold-blooded men he depicted in his work” (Vulture), and the Whedon at Wesleyan sounds a lot like Parker Abrams from early season four, or even Angel right after he lost his soul. Since his marriage ended, Whedon has sought treatment for a love and sex addiction, a path also taken by celebrities such as “James Franco, Kevin Spacey, and Harvey Weinstein” (Vulture). If Vulture’s article was more recent, I am sure Kanye West would also be on that list. Additionally, celebrities such as Russell Brand, David Duchovny, Tiger Woods, and Rob Lowe have also sought treatment for the same addiction, with many of these celebrities only doing so in response to a cheating scandal. Whether Whedon has healed and grown in this regard is unbeknownst to us, but many before him paved this path to redemption in the media’s eyes.

The same year as Cole’s statement, Justice League (2017) came to theatres, which Whedon later labelled as “one of the biggest regrets of his life” and would contribute considerably to his downfall (Vulture). The original director of the film was Zach Snyder, who had his own group of devoted and worshiping fans, but he had to drop the project to be with his family after his daughter committed suicide, so Whedon took over the post-production duties. Whedon did more than oversee the final touches, though, and instead made drastic changes to the film. After viewers were disappointed by Whedon’s version, they demanded to see Snyder’s, which the studio released in 2021; yet, before its release in 2020, the cast began speaking out about their experiences with Whedon. What precipitated the avalanche of testimonies regarding Whedon’s workplace behaviour was a July 2020 tweet by Ray Fisher saying that “Joss Whedon’s on-set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable.” Following Fisher’s statement, allegations of racist treatment of the actor and character surfaced, and other actors came forward with their experiences. Suddenly, the fans who worshiped Snyder were attacking Whedon online, and those who previously worshipped Whedon weren’t sure what to do. Allegations of Whedon abusing his power continued to emerge over the next few months, but what put the nail in the coffin holding Whedon’s reputation happened in 2021 when Charisma Carpenter went to Twitter to rehash her experiences with Whedon on the set of Angel. This was not the first time she had discussed his “casually cruel” behaviour or her wrongful dismissal; in fact, “the actress has been talking about it with fans and reporters for more than a decade” (Vulture), but it was nonetheless the final straw. By the time the first half-season of The Nevers (2021) premiered on HBO, promising Whedon’s return to television, Joss Whedon had already stepped down as the showrunner, and the marketing did not acknowledge his involvement. In the year and a half since its airing, HBO has cancelled the show and removed the already aired episodes from their library—HBO, at the very least, is treating Whedon to the full cancellation treatment, and we will see who follows suit.

But what does this all mean to the fandom and scholars? In truth, no one is sure, but they have been asking just that for the past two years. Since so many people around the world love BtVS so much and yet are so deeply disappointed in what has come to light about Whedon, many people have decided to divorce the art from the artist, completely ignoring Whedon’s role in its production, or they have erased BtVS from their lives. These are both flawed responses. The first response, where people have separated the art from the artist, neglects the richness of potential scholarship or understanding that becomes available by analyzing BtVS alongside what we now know about Whedon. As one article explains, “the belief that [Buffy’s] story was something other than a projection of his psyche is ultimately just another fantasy. Whedon did understand pain — his own. Some of that pain, as he once put it to me, ‘spilled over’ into the people around him. And some of it was channeled into his art” (Vulture). There is new and rich nuance to BtVS that fans and scholars alike should not ignore. The second response ignores the contributions of everyone else who worked on the show; it feels inappropriate to disregard the effort of these writers, producers, directors, makeup artists, costume designers, set designers, actors, and the list goes on, especially if they continued to contribute to a project they saw the merits in despite the work environment being less than ideal or even toxic and abusive. If they endured Whedon’s cruelty during BtVS’ production, then we should acknowledge and be thankful for their work rather than dismiss it because of their boss’ wrongdoings.

After all, BtVS now belongs to the fans and scholars who have made it what it is, and although people throw this sentiment around, it is grounded in literary theory, that being Roland Barthes’ ‘Death of the Author’ essay from 1967. In this essay, Barthes puts forth that we, as fans and scholars, should not study a work in tandem with its author and that an author does not exist in the way we think of it. It’s a complicated essay, so let’s pick out some pieces that help us understand BtVS and Whedon. Barthes makes two foundational statements about authorship: “writing is the destruction of every voice, every origin. […] this gap appears, the voice loses its origin, the author enters into his own death, writing begins,” and “the text is a fabric of quotations, resulting from a thousand sources of culture. […] the writer can only imitate an ever anterior, never original gesture.” According to Barthes, the author does not create anything new but instead translates, borrows, and recontextualizes what already exists; further, he is not doing so with his own voice, but he is merely the medium through which these previous sources move—the author dies as the work is born. Relating this to BtVS, we must remind ourselves of what the writers claimed to be their inspirations, but also what we see within the series since the show as a whole may appear new despite everything within it has previously existed and carries meaning with it. All those pop culture references that the show makes seem inconsequential but may be much more significant than we previously understood since the significance behind these references impacts the meaning of BtVS.

BtVS’ authorship is further complicated when we consider Barthes’ assertions that “to assign an Author to a text is to impose a brake on it, to furnish it with a final signified, to close writing. […] once the Author is found, the text is ‘explained.’” Although I just explained how I believe that we should acknowledge Whedon’s influence on BtVS, I want to emphasize that we will never truly understand the collective authorship of BtVS since so many talented writers were in the writing room, many individuals worked on the project, and even the viewers were able to impact the show’s development. Finally, Barthes makes the point that art belongs to the fans, saying that “the unity of a text is not in its origin but in its destination,” and I understand this to mean that the meaning of art is not decided by the author or writer but by the reader or watcher, and gives them what they need from it. Each BtVS viewer came to the show from a different place, and yet so many people found something special in it which spoke to them, and the writers may claim to have meant these things or not, but the meaning, or “unity of a text,” is not dictated by the writers, but by the fans, the “destination.”

Joss Whedon may have written the original Buffy the Vampire Slayer script thirty years ago, and the show may have concluded twenty years ago, but BtVS never truly belonged to Whedon. BtVS has always belonged to the viewers, fans, and scholars, so although Whedon’s actions have added complications to the series and how people now enjoy it, they should not stop anyone’s enjoyment of it.

That’s that for this Sunnydale study session!

Liz

TL;DR: Whedon sucks and I recommend you read these articles:

https://www.vulture.com/article/joss-whedon-allegations.html

https://www.thewrap.com/joss-whedon-feminist-hypocrite-infidelity-affairs-ex-wife-kai-cole-says/

https://www.vice.com/en/article/v7d34y/when-joss-whedon-was-our-master

#buffy the vampire slayer #buffy summers #btvs #buffy #buffystudies #joss whedon #whedonverse

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