#RED Digital Cinema

[streetsofdublin]

A HISTORY OF RED DIGITAL CINEMA

RED's impact on the film industry is undeniable. The company democratised access to high-quality digital cinema cameras, empowering a new generation of filmmakers. Their commitment to pushing boundaries and user-centric design continues to inspire innovat

FROM DISRUPTER TO INDUSTRY LEADER A History of RED Digital Cinema: From Disruptor to Industry Leader RED Digital Cinema burst onto the scene in the late 2000s, shaking the foundations of the professional filmmaking industry. Founded by Jim Jannard, a self-proclaimed “camera fanatic” and the entrepreneur behind Oakley sunglasses, RED aimed to revolutionise digital cinematography with a focus on…

[heronetworkgg]

Nikon adquirirá RED Digital Cinema, el fabricante de cámaras de cine digital

En un sorprendente movimiento en la industria cinematográfica, Nikon Corporation ha anunciado oficialmente su acuerdo para adquirir el 100% de RED.com, LLC, el fabricante de renombre de cámaras de cine digital. Esta adquisición marca un hito significativo en el mercado y plantea preguntas sobre el futuro de los productos RED Digital Cinema bajo el paraguas […]

Ir a la noticia completa

[femondoetus]

How rude of her - You're trying to enjoying the movie!!😤

[wallpapedits-vvc]

Matching wallpapers #128

Like/reblog if you save ✨

Art by: Oscar Mar

None of this wallpapers/pictures belongs to me, I just do the matching. 2nd: I edited it to make it screen size.

[reszka]

Law hiding from Strawhats, cause it’s his birthday

[glowstx]

[aeleondigitals]

The Arrival.

[newsintheshell]

📌 GUIDA ANIME - STAGIONE ESTATE 2024 🍹

L'unico posto in cui potete trovare tutte le serie e i film in uscita fra luglio e settembre, in streaming, al cinema e in home video! 🗓️

Pensavate che il caldo mi avesse fatto scappare? Giammai! Mi sono comprato un ventilatorino da scrivania apposta e finché la batteria dura, si sopravvive.

Dovrei veramente decidermi a fare un sondaggio stagionale, per decidere quali serie mettere sul banner della guida... Fare la scrematura sta diventando sempre più arduo! 😭

Se la primavera era carica, questa stagione estiva non non è da meno, anzi! C'è un quantitativo di romcom/slice of life che basterebbe per deliziarmi un anno intero! Anche a livello di animazioni, ci sono dei bei picchi qua e là che è veramente una gioia vedere. Refreshing.

Per quanto Monogatari Series sia letteralmente un pezzo del mio cuore, sappiamo tutti però chi è il vero boss da battere.

(Immagine gentilmente offerta dal web, ad opera di NeitheYAGI ©)

Su Nokotan, fra l'altro, devo fare un appunto: non trovate la serie subito qua sotto nel palinsesto di Crunchyroll perché, nonostante fosse stata annunciata anche per l'Italia, a quanto pare sta venendo distribuita in tutte le lingue, fuorché l'italiano.

L'annuncio era arrivato prima del panel di Yamato Video, ma a quanto pare ANiME GENERATION ha avuto la meglio. Questo giusto per chiarire la situazione, per chi come me, magari, era rimasto un po' confuso dalla cosa. Ora tutti a boostare le views, quindi, così ci spanziamo anche con il doppiaggio!

Il palinsesto è in continuo aggiornamento e giorni e orari di alcune serie potrebbero cambiare, quindi se notate errori o mancanze, segnalatemeli pure qua o sui social.

🔹IN CORSO

LUNEDÌ

16:00 MAYONAKA PUNCH - ▶️ GUARDA ORA

18:00 SHY (Stagione 2) - ▶️ GUARDA ORA

19:30 THE OSSAN NEWBIE ADVENTURER, TRAINED TO DEATH BY THE MOST POWERFUL PARTY, BECAME INVINCIBLE - ▶️ GUARDA ORA

20:00 SPICE AND WOLF: MERCHANT MEETS THE WISE WOLF - ▶️ GUARDA ORA

MARTEDÌ

16:45 THE MAGICAL GIRL AND THE EVIL LIEUTENANT USED TO BE ARCHENEMIES - ▶️ GUARDA ORA 17:00 NO LONGER ALLOWED IN ANOTHER WORLD - ▶️ GUARDA ORA 21:00 TASUKETSU -FATE OF THE MAJORITY- - ▶️ GUARDA ORA

MERCOLEDÌ

16:00 THE STRONGEST MAGICIAN IN THE DEMON LORD'S ARMY WAS A HUMAN - ▶️ GUARDA ORA 16:30 OUR LAST CRUSADE OR THE RISE OF A NEW WORLD (Stagione 2) - ▶️ GUARDA ORA

17:00 ALYA SOMETIMES HIDES HER FEELINGS IN RUSSIAN - ▶️ GUARDA ORA

17:15 LOVE IS INDIVISIBLE BY TWINS - ▶️ GUARDA ORA

17:30 SENGOKU YOUKO (Parte 2) - ▶️ GUARDA ORA

GIOVEDÌ

14:30 DAYS WITH MY STEPSISTER - ▶️ GUARDA ORA 15:00 MEGATON MUSASHI (Stagione 2) - ▶️ GUARDA ORA 17:00 TWILIGHT OUT OF FOCUS - ▶️ GUARDA ORA 18:30 PSEUDO HAREM - ▶️ GUARDA ORA

19:30 THE CAFÉ TERRACE AND ITS GODDESSES (Stagione 2) - ▶️ GUARDA ORA

20:00 FAILURE FRAME: I BECAME THE STRONGEST AND ANNIHILATED EVERYTHING WITH LOW-LEVEL SPELLS - ▶️ GUARDA ORA 20:30 SENPAI IS AN OTOKONOKO - ▶️ GUARDA ORA

VENERDÌ

05:00 DEAD DEAD DEMON’S DEDEDEDE DESTRUCTION - ▶️ GUARDA ORA

17:00 BYE BYE, EARTH - ▶️ GUARDA ORA

17:30 THAT TIME I GOT REINCARNATED AS A SLIME (Stagione 3) - ▶️ GUARDA ORA ※ La versione doppiata arriva alle 23:30!

18:00 NIER:AUTOMATA VER1.1A (Parte 2) - ▶️ GUARDA ORA

20:30 QUALITY ASSURANCE IN ANOTHER WORLD - ▶️ GUARDA ORA

SABATO

01:40 CARDFIGHT!! VANGUARD DIVINEZ (Stagione 2) - ▶️ GUARDA ORA

04:30 SHADOWVERSE FLAME (Parte 3) - ▶️ GUARDA ORA

11:30 MY HERO ACADEMIA (Stagione 7) - ▶️ GUARDA ORA ※ La versione doppiata arriva alle 21:00!

14:30 DAHLIA IN BLOOM: CRAFTING A FRESH START WITH MAGICAL TOOLS - ▶️ GUARDA ORA 16:00 A NOBODY’S WAY UP TO AN EXPLORATION HERO - ▶️ GUARDA ORA 16:30 MONOGATARI SERIES OFF & MONSTER SEASON - ▶️ GUARDA ORA 17:00 MY WIFE HAS NO EMOTION - ▶️ GUARDA ORA

17:15 WHY DOES NOBODY REMEMBER ME IN THIS WORLD? - ▶️ GUARDA ORA 17:30 SAKUNA: OF RICE AND RUIN - ▶️ GUARDA ORA

18:00 THE ELUSIVE SAMURAI - ▶️ GUARDA ORA

18:30 ATRI -MY DEAR MOMENTS- - ▶️ GUARDA ORA

19:00 MAKEINE: TOO MANY LOSING HEROINES! - ▶️ GUARDA ORA

20:00 SHOSHIMIN: HOW TO BECOME ORDINARY - ▶️ GUARDA ORA

20:30 YATAGARASU: THE RAVEN DOES NOT CHOOSE ITS MASTER - ▶️ GUARDA ORA

DOMENICA

IN GIORNATA 

ONE PIECE (Stagione 21) - ▶️ GUARDA ORA

WONDERFUL PRECURE! - ▶️ GUARDA ORA

11:30 WISTORIA: WAND AND SWORD - ▶️ GUARDA ORA

16:00 TOWER OF GOD (Stagione 2) - ▶️ GUARDA ORA

17:30 VTUBER LEGEND: HOW I WENT VIRAL AFTER FORGETTING TO TURN OFF MY STREAM - ▶️ GUARDA ORA

18:30 NARENARE -CHEER FOR YOU!- - ▶️ GUARDA ORA

19:30 A JOURNEY THROUGH ANOTHER WORLD: RAISING KIDS WHILE ADVENTURING - ▶️ GUARDA ORA

21:15 MUSHOKU TENSEI: JOBLESS REINCARNATION (Stagione 2 - Parte 2) - ▶️ GUARDA ORA ※ Versione doppiata in italiano!

21:45 THEATRE OF DARKNESS: YAMISHIBAI (Stagione 13) - ▶️ GUARDA ORA

🔹COMPLETI

1 LUGLIO

WITCHY PRECURE 

GO! PRINCESS PRECURE

5 SETTEMBRE

PRECURE MAX HEART 🆕

6 SETTEMBRE

SPY X FAMILY: CODE WHITE 🆕

11 SETTEMBRE

BOBOBO-BO BO-BOBO 🆕

🔹IN CORSO

🔹COMPLETI

1 LUGLIO

NARUTO SHIPPUDEN (Stagione 9)

5 LUGLIO

UN OCEANO DI AVVENTURE PER TICO E NANCY

9 LUGLIO

STREET FIGHTER II VICTORY

10 LUGLIO

INAZUMA ELEVEN GO

1 AGOSTO

NARUTO SHIPPUDEN (Stagione 10)

CITY HUNTER THE MOVIE: ANGEL DUST

7 AGOSTO

INAZUMA ELEVEN GO (Stagione 2)

1 SETTEMBRE

I CAVALIERI DELLO ZODIACO (Stagione 1) 🆕

🔹IN CORSO

LUNEDÌ

OSHI NO KO (Stagione 1) - ▶️ GUARDA ORA 

LEI, L'ARMA FINALE - ▶️ GUARDA ORA ※ Versione doppiata!

I CASI DEL GIOVANE KINDAICHI R 

TUTOR HITMAN REBORN! (Stagione 4) - ▶️ GUARDA ORA ※ Versione doppiata!

MARTEDÌ

EMMA - A VICTORIAN ROMANCE - ▶️ GUARDA ORA ※ Versione doppiata!

TOKYO MEW MEW NEW (Stagione 2) - ▶️ GUARDA ORA ※ Versione doppiata!

TOKYO MEW MEW NEW - PETIT (Stagione 2) - ▶️ GUARDA ORA ※ Versione doppiata!

MERCOLEDÌ

16:30 NOKOTAN IN CERVA DI AMICI - ▶️ GUARDA ORA

17:00 OSHI NO KO (Stagione 2) - ▶️ GUARDA ORA

ANGEL HEART - ▶️ GUARDA ORA 

HIGH CARD (Stagione 2) ※ Versione doppiata!

GIOVEDÌ

09:01 SUICIDE SQUAD ISEKAI

17:30 RAMEN AKANEKO - ▶️ GUARDA ORA

TUTOR HITMAN REBORN! (Stagione 4) - ▶️ GUARDA ORA ※ Versione doppiata!

EVELYN E LA MAGIA DI UN SOGNO D'AMORE ※ Versione doppiata!

VENERDÌ

15:30 2.5D DIMENSIONAL SEDUCTION - LA SEDUZIONE A 2.5 DIMENSIONI DI RIRISA - ▶️ GUARDA ORA

ONE PIECE (Stagione 3) - ▶️ GUARDA ORA ※ Versione doppiata!

SABATO

17:00 ELFA XXL - LA DIETA IMPOSSIBILE - ▶️ GUARDA ORA

DOMENICA

17:55 KINNIKUMAM- PERFECT ORIGIN ARC - ▶️ GUARDA ORA

SECRET AIPRI - IL GRANDE SEGRETO DI HIMARI E MITSUKI - ▶️ GUARDA ORA

ONE PIECE (Stagione 21) - ▶️ GUARDA ORA

🔹COMPLETI

23 LUGLIO

TOKYO MEW MEW NEW - PETIT

30 LUGLIO

GRIGENZA! (Stagione 2) ※ Versione doppiata!

CHARLOTTE - Edizione Vintage ※ Versione doppiata!

🔹IN CORSO

LUNEDÌ

KINNIKUMAN - PERFECT ORIGIN AR - ▶️ GUARDA ORA

SABATO

ONE PIECE (Stagione 21) - ▶️ GUARDA ORA

SAKUNA: OF RICE AND RUIN - ▶️ GUARDA ORA

🔹COMPLETI

1 LUGLIO

THE RISING OF THE SHILED HERO (Stagione 1)

5 LUGLIO

L'IMMAGINARIO

15 LUGLIO

MONONOKE

17 LUGLIO

T・P BON (Stagione 2)

19 LUGLIO

CHI - UNA DOLCE AVVENTURA: VACANZE ESTIVE

1 AGOSTO

ARRIVARE A TE (Stagione 3)

BLEACH (Stagione 12-13)

THE RISING OF THE SHIELD HERO (Stagione 2)

6 AGOSTO

RISING IMPACT (Stagione 2)

15 AGOSTO

KENGAN ASHURA (Stagione 2 - Parte 2)

22 AGOSTO

PRETTY GUARDIAN SAILOR MOON COSMOS THE MOVIE

28 AGOSTO

TERMINATOR ZERO

20 SETTEMBRE

BLUE GIANT 🆕

IL CASTELLO INVISIBILE 🆕

🔹IN CORSO

MERCOLEDÌ

MISSION: YOZAKURA FAMILY - ▶️ GUARDA ORA

MURAI IN LOVE - ▶️ GUARDA ORA 🆕

GIOVEDÌ

LA TERRA DI TANABATA (Live-Action) - ▶️ GUARDA ORA

VENERDÌ

CODE GEASS: ROZÉ OF THE RECAPTURE - ▶️ GUARDA ORA

SABATO

THE FABLE - ▶️ GUARDA ORA

🔹COMPLETI

12 LUGLIO

BLEACH: THOUSAND-YEAR BLOOD WAR (Arco 1-2) - 🛒ACQUISTA - First Press Edition

31 LUGLIO

BLEACH (Arco 1-4) - 🛒ACQUISTA - Collector's Edition Box

GOBLIN SLAYER (Stagione 2) - 🛒ACQUISTA - Limited Edition

22 AGOSTO

COWBOY BEBOP - 🛒ACQUISTA - Limited Edition

28 AGOSTO

MOBILE SUIT GUNDAM 0083 - 🛒ACQUISTA - Limited Edition

IL GRANDE SOGNO DI MAYA - 🛒ACQUISTA

MAGIC KNIGHT RAYEARTH - 🛒ACQUISTA

25 SETTEMBRE

DEMON SLAYER (Il Villaggio Dei Forgiatori) - 🛒ACQUISTA - Limited Edition

4 SETTEMBRE

TOKYO GODFATHERS - 🛒ACQUISTA - Combo Edition (Bd + Dvd)

11 SETTEMBRE

LUPIN III - IL CASTELLO DI CAGLIOSTRO - 🛒ACQUISTA - 4K HDR Edition

25 SETTEMBRE

BLEACH (Arco 5-8) - 🛒ACQUISTA - Collector's Edition Box

30 SETTEMBRE

THE FIRST SLAM DUNK - 🛒ACQUISTA - 4K HDR Steelbook Edition

※ Se acquistate qualcosa tramite questi link affiliati, Amazon condividerà con me una piccola parte del ricavato. Grazie per il vostro supporto!

NOVITÀ

Dal 17 luglio BLUE LOCK THE MOVIE: EPISODE NAGI

Il 7 e l'8 settembre DAN DA DAN - FIRST ENCOUNTER 🆕 (I primi 3 episodi della serie in anteprima, in versione sottotitolata)

Il 9, 10 e 11 settembre CYBORG 009 VS DEVILMAN

Solo il 23 settembre THE CONCIERGE 🆕

NOTORIOUS ANIME DAYS - Repliche film Anime Factory in lingua originale e sub ita

Dal 18 al 24 luglio - DRAGON BALL SUPER: BROLY

Dal 22 al 31 luglio - THE TUNNEL TO SUMMER, THE EXIT OF GOODBYES

Dal 1 al 7 agosto - BELLE

UN MONDO DI SOGNI ANIMATI - Classici Studio Ghibli firmati dal maestro Isao Takahata (in cannarsiano)

Dal 18 al 24 luglio - I MIEI VICINI YAMADA

Dal 25 al 31 luglio - LA STORIA DELLA PRINCIPESSA SPLENDENTE

⫸ NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! ⫷

Autore: SilenziO))) Se usate Twitter, mi trovate lì! 

blogger // anime enthusiast // twitch addict // unorthodox blackster - synthwave lover // penniless gamer // INFJ-T magus

[ghostiesnightmare]

Tricks and Treats

Stalker!Ghostface x Reader

————

Warnings: Implied non-con, stalking, harassment, nudity, brief descriptions of gore, NSFW

Word count: 2.8K

————

The world is a dangerous place. More specifically, Woodsboro is a dangerous place. The almost idyllic scenery that the California town had to offer was a perfect getaway from the bustle of the dense city, but only if you knew where to find it. The small-town charm of the porch-wrapped houses and corner stores had to offer seemed to give off the pleasantries of any other normal town. Yellow school buses shuttled teens to and from school, crowds gathered at the cinema or the occasional concert in town, and life moved at an almost melodramatic pace.

That is, until Casey Becker and her boyfriend were found gutted at the Becker household, their bodies bloated and distorted in a mess of blood, tissue, and bones. The town’s normalcy shattered as gossip swarmed the streets. Tensions rose, and suspicion grew at even the slightest of actions. There was a killer on the loose, and until caught, there was no way to know who or what was coming next.

————

The phone rang.

Your eyes shoot open with the sudden intrusion into your dreams. Groaning, you stretched, shoulders popping at the pressure as you glanced at the clock, wishing away the constant blare of the ringtone. The digital clock on the TV mantle almost glared at you in the dim lighting of the living room, 3:43, the witching hour. Blinking the sleep out of your eyes, you rose from the couch, pulling the blanket closer to your form as you hobbled into the kitchen. Cursing under your breath as you banged into the countertop, you blindly fumbled for the landline. Ripping the phone from its receiver, you brought the object to your ear as you glanced out the window, staring at the abyss of darkness surrounding the kitchen counter.

“Hello?”

Silence.

Quirking a brow, you listened closely, trying to discern if you had imagined the ringing in the first place or if you were really awake. You try again.

“Hello? Is someone there?”

A beat. Silence glares back at you. Slightly irritated, you move the phone to your other ear, leaning into the counter further as you awaited an answer.

“Look, it’s late, so whoever you are, call back at a reasonable time next time, okay-” Before you can finish your sentence, you hear it.

A low, dark chuckle cuts through the silence on the other end of the line like a knife. The hairs on the back of your neck raise and a chill shudders down your spine. The almost inhumane noise stiffens your legs and you freeze, jolted out of your sleepy state.

“You’re cute when you’re sleeping.” The voice purrs.

Click!

You almost jump out of your skin as the dial tone screeches into your ear, causing you to drop the phone onto the ceramic tiling of the kitchen counter. The phone clatters loudly as the wiring is pulled from the phone, plastic shattering across the kitchen floor, plunging the house into eerie silence once more. You tried to reason with yourself as you shakily picked up the shards of plastic strewn around the kitchen; it had to have been a prank due to the season, horror fanatics terrorizing unsuspecting callers in the middle of the night as Halloween approached. Your eyes flicked to the television, propped up across the house next to your resting place. Recalling the recent events on the news, fear settles into your stomach. Phone calls, Halloween, murder. Shuffling back to the couch, you hid beneath the layers of your blankets, the red of the clock still piercing the darkness.

Suddenly you feel much less convinced.

————

After your terrifying night time encounter with a “prank caller”, you assumed they would lose interest and the calls would die out as the days went on. You replaced the family receiver, started sleeping in your room, and moved on with your life. Except the calls wouldn’t stop. All well within the night, all when your parents were away, all with new terrifying details that plagued your dreams as you tried to brush them off. What started off with heavy breathing turned into creepy comments about your routine, personalized attacks, and depraved fantasies of gutting you like a fish. You began taking sleeping pills and drinking coffee to try and take back the hour that the anonymous bully had carved out of your nightly schedule. School started to feel like a crime scene, with you scrutinizing every classmate that looked at you through dark eyebags. You even considered going to the police to have a sense of peace when sleeping. Yet every night, you knew that he would be waiting for you as you drifted off, with even more sickening calls to startle you awake.

You began to wonder if he, you assumed it to be a he due to his rough language and sickening fantasies borderlining a psychopath regarding your looks and sleeping habits, got off to it. The thought of terrorizing a high school student while they slept might be his way to invoke some sick pleasure onto himself. You tried not to think about what he was doing when he rasped things about what your insides felt like or how you would sound while he was killing you. In a sense, he was killing you; your sense of security and privacy in your own home was shattered and you lived your life in a state of petrified terror, not trusting anything or anyone. Things started to go missing around your room; a pair of socks went missing from your dresser. Then a bra, then panties, then your toothbrush, each coming with their own methodical taut in the later hours.

“No wonder you shiver in your sleep, you never wear any socks; poor girl.”

“Looking for something, doll?”

“Lace panties? You dirty slut. I knew you were a filthy whore.”

It was a never ending nightmare.You began distancing yourself from your friends, scared that you might inject them with the perverse state you were constantly engulfed in. Grades started to slip as you dozed off in class, relishing in the few moments you had to sleep in peace. And yet, it only continued to get darker as time went on. Students dropping like flies, investigators and reporters swarming the streets, a mandatory curfew. As the clock ticked closer to All Hallows Eve, you prayed that everything would die down and you would finally return to your normal life. The one thing you had to look for was the lack of trick or treaters expected on Halloween due to the curfew, meaning a night truly to yourself. You could only hope that your eerie stalker had better things to do than to plague your night once more.

————

“Your wife has such a beautiful neck…”

Rolling your eyes at the television screen, you continued to watch the black and white movie while eating popcorn, basking in the solace that that night has so far offered you. The phone, although perched menacingly on the kitchen countertop, remained silent as you binged old horror movies and munched on snacks. You felt relaxed for the first time in weeks, soaking up the silence which was only interrupted by the occasional scream and tense music emitting from the television. You were right, you had endured the pranks and taunts until Halloween, but tonight was about you. You were free from the incessant calls and late night scares, and were finally at peace with the quiet of your home.

Yawning, you stretched, reaching into the popcorn bucket and finding it empty. Groaning, You rose from the couch and padded over to the kitchen, placing the tupperware into the sink before reaching into the counter to grab a glass. Turning on the faucet, you filled up your glass and placed it beside you, items in the sink clattering around as you washed the tupperware before drying your hands. Turning back to the living room, you paled.

The television was off.

Not off, per say, but a blank wall of static stared back at you, the fuzzy outline almost burning into your eyes as you stood frozen in the kitchen, clammy hands grasping your glass. Eyeing the television warily, you blindly fumbled around behind you, pulling a kitchen knife from the block. Creeping forward, you set the glass down and held the knife within both of your hands, jutting it out in front of you as you entered the living room. Feet hitting the rug, you stumbled slightly, gasping as you tripped clumsily, eyes never leaving the television. Reaching the couch, you grabbed the remote and flicked the television off. Silence fell upon the room once more, and you breathed a sigh of relief.

Ding!

You audibly screeched, head whirling towards the front door as you blindly whipped the knife in a sweeping notion, almost spinning out due to the force. A chorus of children’s laughter was heard as you barely made out tiny silhouettes fleeing the scene. Even during a mandatory curfew, kids will always find a way to cause trouble on Halloween. Trying to calm your rapid breathing, you let the knife drop to your side. It’s just paranoia, these past few weeks have taken a toll and you were jumping at anything that could give you a scare. There’s no one out there, it’s just the Halloween spirits scaring you.

Walking to the front door, you made sure it was locked before peering through the window. Vacant nighttime streets greeted your vision, with the faint glow of jack-o-lanterns adorning the steps of every other house. Through the door, you could hear a faint breeze wafting through the neighborhood, the only sound besides rustling leaves. You were definitely alone, no boogeyman waiting around the corner to snatch you, no faceless caller to disturb your sleep and terrorize your dreams. Sighing in relief, you went to the living room and kitchen, turning the lights off as you headed upstairs. You were in desperate need of a shower, wanting to feel your nerves melt away under the hot water and finally rest assuredly under the covers of your bed. Giving one last look at the lower level of the house, you crept up the stairs to your room, leaving your water glass on the counter without a second thought.

The glass sat on the ceramic tile of the counter next to the phone, half empty.

————

Rummaging through your dresser, you searched for comfortable yet festive sleepwear for the evening, and settled for a pair of black shorts and a baggy t-shirt, the smiling face of a ghost in a pumpkin patch winking back at you. Clutching the items to your chest, you scurried into the connected bathroom, setting your clothes on the closed toilet seat before whisking the shower curtain open. Turning the crank of the shower, you stripped out of your movie-night clothes, which were flaked with popcorn salt and the occasional butter drop. You quickly threw the clothes outside of the bathroom door, which unceremoniously landed in a clump on the floor of your bedroom. Feeling the water with your hand, you stepped into the shower and whisked the shower curtain closed, sighing as you felt enveloped by the scalding water.

You needed this, a calm, relaxing shower and a good night's rest after the hellish week that you could now proudly say was behind you. Grabbing your soap bar, you lathered away at your skin, envisioning scrubbing the stress away and watching the suds rinse down the drain. You shampooed your hair, humming the tune of the most recent horror film you watched as you let the water cascade down your hair. You thought about your evening, silently scolding the damsel in distress and replaying scenes in your head. You however, were free from any monsters that night. Smiling, you rubbed the conditioner in your head, continuously humming. A split second creak made you pause, and you listened for any noise. When not hearing anything else, you resumed your actions, finishing your routine before turning the water off. Steam pooled out of the shower and hung heavy in the air as you stepped out of the shower, wrapping a towel around your form. Padding over to the mirror, you brushed your hair, squeezing any remaining water out of it before washing your face and brushing your teeth. Ready to change, you turned towards the toilet to grab your clothes, confused when you spotted nothing there. Peeking your head outside the bathroom door, you spotted your clothes folded neatly on your bedspread.

Rolling your eyes at your forgetfulness, you pushed open the bathroom door the rest of the way and reached for your clothes. Black shorts, black panties, and a t-shirt… did you grab panties? Shuffling around, you dropped your towel, holding the panties up, slipping them up your legs. You were clearly in need of a good night's sleep, and tugged on your shirt and shorts. Stretching, you turned to close your bedroom door, doing the same to the bathroom door. As you turned back to the bed, you noticed your forgotten clothes scattered on the floor. Bending to pick them up, you looked at the alarm clock on your nightstand. The clock seemed to taunt you, giving a slight warning with the digital numbers 3:25 staring back at you. Scooping up your clothes, you headed towards the closet, opening one of the doors to throw your clothes in the hamper.

A hand grabbed your wrist.

A scream ripped out of your throat, and you tried to wrench your way out of its grasp, but it held your wrist like a vice. The black glove dug into your skin, and tears immediately spilled down your cheeks as you wrestled with the figure in the closet. An arm emerged, then a torso, and finally the black eyes of a mask met yours. You paled, frozen at the spot while gaping at the soulless eyes that stared back at you. The frozen look of terror on the mask echoed your own, and you felt a sob bubble from your chest. That mask, the same they found at the crime scene of Principle Hembry. The one that had the entire town bubbling with fear and suspicion.

Ghostface.

He cocks his head at you, pulling you forward by your wrist, wrapping his other around your throat. Tears spill from your cheeks onto his glove, and he removes his hold on your wrist to pull your hair back, forcing your gaze to meet his once more.

“What’s wrong, (y/n)? It looks like you’ve seen a ghost.”

This can’t be happening. This isn’t real. It’s just another nightmare.

“Cat got your tongue?” He purrs, shoving you back by the throat, causing you to stumble backwards, tripping over your bed and landing unceremoniously in a heap on the sheets. You scramble upwards, screaming in terror, sobs racking your body.

“P-please don’t hurt me, oh my god plea-” He grabbed your ankle, pulling you towards him as he scrambled on top of you, wrestling you back down on the bed.

“Shut the fuck up, unless you want me to slit that pretty throat of yours then be quiet.” He seethed, pinning your hands above your head. Reaching into his robe, your eyes are met with the very long, very sharp blade of a knife. You feel like you could pass out from the fear consuming you. Terrified, your eyes flick to his own, silently begging him not to kill you. He chuckles at the look on your face, that same laugh seared into your nightmares and causing a tremor of fear to tickle down your spine.

“Don’t worry… I won’t kill you…” He cocks his head at you again, pressing his weight onto you almost painfully. You wheeze at the pressure.

“Not yet anyways. Now, let’s see how much of a good girl you really are.” He croons, and the realization of the situation dawns on you. All those calls, all those threats and taunts, yet here he is in your room, ready to make your worst fears become a reality. Writhing beneath him, you squirm desperately to try and free yourself. Growing tired of your relentless fighting, he pushes into your caught wrists, hard. You wince, crying out at the pressure.

“Now, now, this is only fair. You got the trick this Halloween…” He muses, trailing the knife up your t-shirt, effectively cutting away at the fabric. You wince as the blade knicks you, opening little cuts along your skin as he cuts your protective layer away. Dropping the knife at your side, he rips away the rest of the fabric. You can feel his eyes roam your skin hungrily, and you squeeze your eyes shut, praying this is all another nightmare. His hand finds your chin, forcing you to stare into the void of his eyes. Leaning forward your forehead touches the cool plastic of the mask, and for the first time you hear his voice for what it really is.

“...that means I get this nice, little treat.”

————

A/N: this is my first fic on tumblr, so let me know your thoughts or if you have any comments or requests! DM me and I’d me happy to chat

[dianadeadwing]

It’s that meme but Make it Zekina for Day 1 of Zekina week. @tacosandtouchtanks

The prompt is cinema so she can be a movie star and singer too. Their outfits are from ep 6.14 The Hormone-iums. Just Some Zeke typical good natured yearning while being totally happy with Tina living her best life even if it’s away from him.

[ID:

Digital fanart of Tina and Zeke from Bob’s Burgers in their outfits from Hormone-iums episode in season six. Zeke is standing mostly in shadow facing a large red sign with a large picture of Tina’s smiling face on it. The sign reads „Tina Belcher“ and „The Hormone-iums“.

/end ID]

[transhuman-priestess]

Legit i love how digital video still has different looks depending on when it was taken.

A MiniDV camcorder from 1997 will have a different look than a Canon XL2 in 2005 which will have a different look from a Panavision Genesis in 2006 which will look different from a RED Epic in 2015 which will look different from a Blackmagic Pocket Cinema in 2023.

[respectthepetty]

I've been wondering for a while- how did you start getting into all the colour stuff?? I would love an origin story <3 what got you into your passion for deciphering colors and how did you figure out what they mean??

sorry ik it's a lot but ever since I started following you I see colors everywhere and I'm curious of where you started noticing them ((: it's so fun and intriguing to me! I'm usually more of a "foaming at the mouth for the lighting" girlie but it's been a heap of fun figuring out colors with the lights ^^

thanks for everything you do to show us your eye for color btw ♡♡ your blog is so fascinating and I love reading all your theories and notes

@overrgrown, never apologize for asking questions, but I've actually been asked this before by bengiyo. You can find my write up HERE, but the short version of that post is I've always seen colors; therefore, I've always attached meaning to them, even if the meaning was not valid.

TLWR: Appreciate the artists who work on these shows, not me.

In bengiyo's ask, I stated that when I was younger, I thought the colors were showing me what was good and what was bad. That's it. In my defense, I was a kid, so everything really was good or bad in my book with no in-between.

Even though I've always seen colors, and it comes very naturally to me, the meaning I attached to them when I was younger was very much based on who I was rather than what was being shown to me. Five-year old me thought if someone was dressed all in red that they were the devil. Adult me now knows that isn't always the case. Adult me also knows that red in American (United States) culture means something different than other cultures.

Not a flex, just a fact, but I have several degrees in languages, linguistics, and rhetoric. What they are in is not super important, but, in general, a formal education has greatly helped me infer meaning from what I'm visually seeing in the media I consume. My degrees are not in film or communications, yet I've taken undergrad and grad-level courses like Visual Media, Multimedia and Visual Communication, Language of Film, Digital Narratives, Cinematography and Lighting, Film Theory & Criticism, Queer Cinema History, Spanish Film & Feminism, and many more all because under this great big academic umbrella of rhetoric and composition lies storytelling.

And that's what this is really about - How do we tell a story? Regardless if that story is a simple flyer for a school bake sale, a 30-second commercial advertising cleaning wipes, or a 12-episode BL series, how do we get the message across? We can't just rely on ONE thing! We have to use as many things as possible! So when I'm watching a BL series, I'm just not paying attention to the words being spoken or the acting alone. No, I'm paying to the background noise. What do the clothes tell me about the character? What does his apartment tell me about him? And what do the colors mean?! All of it is important!

I've mentioned this before but I serve on a screening committee for a queer film festival. I actually got involved with the film festival as an undergrad because of one of the film courses. This has allowed me the opportunity to speak to several filmmakers about their process, and all of them have confirmed that the colors were intentional. People who deal with props and costume design have spoken to me about trying to find very specific items that reinforce the story being told. Oh, and theater is a whole different level. Because of the nature of the stage versus film, if it is on the stage, it must have a reason for being there.

Basically, people who work in visual media work really fucking hard, which you probably know since you love lighting. Most times, 12-hour days are the average, if not longer. This video does a good job of briefly covering the work that goes into costume design, and I timestamped it to begin at the part that covers colors.

I love seeing colors. I love deciphering them. I love the story they tell.

But they wouldn't be there if the hardworking people behind them didn't do their job, and those are the people who I appreciate.

So, as always, I'm thankful that you let me know I'm helping you see the beauty is in the details, but I'm really just here to admire the beauty with you.

[fatalism-and-villainy]

I would love to hear more of your opinions on Francis Dolarhyde

Anon, I am so sorry this took me two weeks to answer. I had the whole thing formulated, but it took awhile to track down the scenes/quotes that supported this argument, so here we are.

My initial response to this was “I don’t have many thoughts on him,” but that’s not actually true. I don’t have many thoughts on him as a character - I’m pretty okay with what he’s doing in the story and how he slots into Will and Hannibal’s dynamic, but he’s not one of the cast members who compels me the most.

But what I do find compelling about him is how his character is stylistically handled.

One of the most striking things about him, to me, is what Bryan Fuller said on one of the DVD commentaries for season 3, about the sequences at Dolarhyde’s house demonstrating the horror of cinema. And it’s really true - the horror of the scenes at his house, when he rehearses and relives his murders, is communicated visually through the close-ups on his film projector. For example, in episode 11, when Reba is at his house and he watches - unbeknown to her - footage of Molly and Walter, there are close-ups of the film spinning in its reel:

And this kind of visual focus on the projector and film is pretty frequent in the scenes at his house. It’s all about the film! Hannibal frequently features this kind of close-up object focus in its cinematography, but it’s telling that with Dolarhyde, the main other kind of technology we see it with is the tattoo needle shown upon his introduction.

The film, and the voyeurism it represents, is part of the technology of his becoming, just as his Red Dragon tattoos are. And his long introductory sequence also features the artsy sequence wherein he seemingly gets bound by the film and transforms into the projector.

His bestial nature is linked to his voyeurism and its monstrous appetites.

I also think about Dolarhyde in the context what Elizabeth Sandifer has to say about him, in her episode-by-episode commentary on Hannibal: that NBC!Dolarhyde “exists in constant tension with modernity.” Commenting on the effect of Dolarhyde retaining the job at the film processing plant that he has in the original Red Dragon novel, she says:

Inasmuch as it’s an object worthy of scrutiny, it speaks to Harris’s consistent fascination with turning modernity into monstrosity. But in 2015, nearly thirty-five years later, his connection to film is dated—a connection less to modernity than to early 20th century modernism. (Hannibal himself, of course, presents similar issues.) He is a technological monster, yes, but he is rooted in the hauntological qualities of technology as opposed to any futuristic ones.

And I just love that. Like, it’s fascinating to me that even though the film processing plant is no longer the means through which Dolarhyde is discovered, as in the novel, there’s something about it that just felt intrinsic to his character to Fuller&co. As an adaptational move, it turns the mundanity of his profession into a sort of retro technophilia, kind of reminiscent of that quote that goes around sometimes about how out-of-date technology acquires a new aesthetic resonance when it’s removed from its zeitgeist.

Hannibal is very deliberately out-of-time. Hannibal the character is surrounded by the signifiers of 19th century aestheticism, and Dolarhyde, in turn, becomes representative of the aestheticization of the late ‘70s. And that shift in temporality reflects the narrative turn in the utility of film in this arc - his videos are no longer a plot element, but rather a way of aesthetically and psychologically rendering his character. Rather appropriate to the fact that Will’s 3B arc, in turn, constitutes him shifting focus from the question of how Dolarhyde is choosing his victims to the question of the degree to which he himself shares Dolarhyde’s appetite.

I think the strange, out-of-time quality of Dolarhyde’s use of film - rather than modern digital technology - can also be taken to reflect the level of artistic distance through which we ourselves see the show. Violence on Hannibal is very stylized, very refracted through an aestheticized lens. It’s made beautiful to us. The datedness of this form of technology, the way it renders the projector and film themselves as aesthetic objects, keeps us at a remove from the violence itself. Instead, it reorients us towards point of view, and interpretation. Towards how things are seen, rather than simply the fact of their occurrence.

Geoff Klock, in the oft-cited book If Oscar Wilde Ate People, notes the significance of “seeing” in the show (113). The question “see?”, as Klock notes, bookends the first and last episodes of the show, posed first by Garett Jacob Hobbs and then, on the cliff, by Hannibal. And of course, Dolarhyde himself poses this question, when confronting Chilton with pictures of his crimes: “Do you see?”

Being able to see the aesthetic and artistic qualities in murder, and to see beyond its immorality, is thematically central to the show, in Klock’s argument. And to me, Dolarhyde embodies that concept perhaps more so than any of the show’s other villains (save, perhaps, Hannibal himself). As noted in the film Manhunter, sight is the main sense through which Dolarhyde perceives the world. The two pieces of iconography associated with him on the show are the broken mirror in his house (and of course, his habit of arranging the mirror shards on his victims’ eyes) and the film projector - demonstrating his fractured view of himself, and the consequential control he asserts over the images of his victims, and the way he uses them to transform his view of himself.

Essentially, the show links the potential for violence to a sort of interpretive capacity that is metaphorically associated with sight, and Dolarhyde is a character very associated with sight. And the cinematic and stylistic framing of his psyche has a lot of fascinating implications as to the show’s aesthetic rendering of violence.

[am--f]

TikTok, Seriality, and the Algorithmic Gaze

Princeton-Weimar Summer School for Media Studies, 2024 Princeton University

If digital moving image platforms like TikTok differ in meaningful ways from cinema and television, certainly one of the most important differences is the mode by which the viewing experience is composed. We are dealing not only with fixed media nor with live broadcast media, but with an AI recommender system, a serial format that mixes both, generated on the fly and addressed to each individual user. Out of this series emerges something like a subject, or at least an image of one, which is then stored and constantly re-addressed.

TikTok has introduced a potentially dominant design for the delivery of moving images—and, potentially, a default delivery system for information in general. Already, Instagram has adopted this design with its Reels feature, and Twitter, too, has shifted towards a similar emphasis. YouTube has been providing video recommendations since 2008. More than other comparable services, TikTok places its proprietary recommender system at the core of the apparatus. The “For You” page, as TikTok calls it, presents a dynamically generated, infinitely scrollable series of video loops. The For You page is the primary interface and homepage for users. Content is curated and served on the For You page not only according to explicit user interactions (such as liking or following) or social graphs (although these do play some role in the curation). Instead, content is selected on the basis of a wider range of user behavior that seems to be particularly weighted towards viewing time—the time spent watching each video loop. This is automatic montage, personalized montages produced in real time for billions of daily users. To use another transmedial analogy—one perhaps justified by TikTok’s approximation of color convergence errors in its luminous cyan and red branding—this montage has the uncanny rhythm of TV channel surfing. But the “channels” you pass through are not determined by the fixed linear series of numbered broadcast channels. Instead, each “channel” you encounter has been preselected for you; you are shown “channels” that are like the ones you have tended to linger on.

The experience of spectatorship on TikTok, therefore, is also an experience of the responsive modeling of one’s spectatorship—it involves the awareness of such modeling. This is a cybernetic loop, in effect, within which future action is performed on the basis of the past behavior of the recommender system as it operates. Spectatorship is fully integrated into the circuit. Here is how it works: the system starts by recommending a sequence of more or less arbitrary videos. It notes my view time on each, and cross-references the descriptive metadata that underwrites each video. (This involves, to some degree, internal, invisible tags, not just user-generated tags.) The more I view something, the more likely I am to be shown something like it in the future. A series of likenesses unfolds, passing between two addresses: my behavior and the database of videos. It’s a serial process of individuation. As TikTok puts it in a 2020 blog post: these likenesses or recommendations increasingly become “polished,” “tailored,” “refined,” “improved,” and “corrected” apparently as a function of consistent use over time.

Like many recommender systems—and such systems are to be found everywhere nowadays—the For You algorithm is a black box. It has not been released to the public, although there seem to have been, at some point, promises to do this. In lieu of this, a “TikTok Transparency Center” run by TikTok in Los Angeles (delayed, apparently, by the 2020 COVID-19 pandemic) opened in 2023. TikTok has published informal descriptions of the algorithm, and by all accounts it appears to be rather straightforward. At the same time, the algorithm has engendered all kinds of folk sciences, superstitions, paranoid theories, and magical practices. What is this algorithm that shows me such interesting, bizarre, entertaining, unexpected things? What does it think I want? Why does it think I want this? How does this algorithm sometimes seem to know me so well, to know what I want to see? What is it watching me watch? (From the side of content creators, of course, there is also always the question: what kind of content do I need to produce in order to be recognized and distributed by the algorithm? How can I go viral and how can I maximize engagement? What kinds of things will the algorithm want to see? Why is the algorithm not seeing me?)

These seem to be questions involving an algorithmic gaze. That is to say: there is something or someone watching prior to the actual instance of watching, something or someone which is beyond empirical, human viewers, “watching” them watch. There is something watching me, whether or not I actually make an optical image of myself. I am looked at by the algorithm. There is a structuring gaze. But what is this gaze? How does it address us? Is this the gaze of a cinematic apparatus? Is it the gaze we know from filmtheory, a gaze of mastery with which we are supposed to identify, a gaze which hails or interpellates us, which masters us? Is it a Foucauldian, panoptic gaze, one that disciplines us? 

Any one of us who uses the major platforms is familiar with how the gaze of the system feels. It a gaze that looks back—looks at our looking—and inscribes our attention onto a balance sheet. It counts and accounts for our attention. This account appears to be a personalized account, a personalized perspective. People use the phrase “my TikTok algorithm,” referring to the personalized model which they have generated through use. Strictly speaking, of course, it’s not the algorithm that’s individualized or that individuates, but the model that is its product. The model that is generated by the algorithm as I use it and as it learns from my activity is my profile. The profile is “mine” because I am constantly “training” it with my attention as its input, and feel a sense of ownership since it’s associated with my account, but the profile is also “of me” and “for me” because it is constantly subjecting me to my picture, a picture of my history of attention. Incidentally, I think this is precisely something that Jacques Lacan, in his 1973 lecture on the gaze in Seminar XI, refers to as a “bipolar reflexive relation,” the ambiguity of the phrase “my image.” “As soon as I perceive, my representations belong to me.” But, at the same time, something looks back; something pictures me looking. “The picture, certainly, is in my eye. But I am in the picture.”

On TikTok, the picture often seems sort of wrong, malformed. Perhaps more often than not. Things drift around and get stuck in loops. The screen fills with garbage. As spectators, we are constantly being shown things we don’t want any more of, or things we would never admit we want, or things we hate (but cannot avoid watching: this is the pleasurable phenomenon of “cringe”). But we are compelled to watch them all. The apparatus seems to endlessly produce desire. Where does this desire come from? Is it from the addictive charge of the occasional good guess, the moment of brief recognition (the lucky find, the Surrealist trouvaille: “this is for me”)? Is it the promise that further training will yield better results? Is it possible that our desire is constituted and propelled in the failures of the machine, in moments of misrecognition and misidentification in the line of sight of a gaze that evidently cannot really see us? 

In the early 1970s, in the British journal Screen, scholars such as Laura Mulvey, Colin MacCabe, and Stephen Heath developed a film-theoretical concept of the gaze. This concept was used to explain how desire is determined, specified, and produced by visual media. In some ways, the theory echoes Lacan’s phenomenological interest in “the pre-existence to the seen of a given-to-be-seen” (Seminar XI, 74). The gaze is what the cinematic apparatus produces as part of its configuration of the given-to-be-seen. 

In Screen theory, as it came to be known, the screen becomes a mirror. On it, all representations seem to belong to me, the individual spectator. This is an illusion of mastery, an imaginary relation to real conditions of existence in the terms of the Althusserian formula. It corresponds to the jubilant identification that occurs in a moment in Lacan’s famous 1949 paper “The Mirror Stage as Formative of the I Function as Revealed in Psychoanalytic Experience,” in which the motor-challenged infant, its body fragmented (en morceaux) in reality, discovers the illusion of its wholeness in the mirror. The subject is brought perfectly in line with this ideal-I, with this spectacle, such that what it sees is simply identical to its desire. There is convergence. To slightly oversimplify: for Screen theory, this moment in mirror stage is the essence of cinema and ideology, or cinema as ideology. 

Joan Copjec, in her essay “The Orthopsychic Subject,” notes that Screen theory considered a certain relationship of property to be one of its primary discoveries. The “screen as mirror”: the ideological-cinematic apparatus produces representations which are “accepted by the subject as its own.” This is what Lacan calls the “belong to me aspect so reminiscent of property.” “It is this aspect,” says Copjec, speaking for Screen theory, “that allows the subject to see in any representation not only a reflection of itself but a reflection of itself as master of all it surveys. The imaginary relation produces the subject as master of the image. . . . The subject is satisfied that it has been adequately reflected on the screen. The ‘reality effect’ and the ‘subject effect’ both name the same constructed impression: that the image makes the subject fully visible to itself” (21–22). 

According to Copjec, “the gaze always remains within film theory the sense of being that point at which sense and being coincide. The subject comes into being by identifying with the image’s signified. Sense founds the subject—that is the ultimate point of the film-theoretical and Foucauldian concepts of the gaze” (22).

But this is not Lacan’s gaze. The gaze that Lacan introduces in Seminar XI is something much less complete, much less satisfying. The gaze concept is not exhausted by the imaginary relation of identification described in Screen theory, where the subject simply appropriates the gaze, assumes the position created for it by the image “without the hint of failure,” as Copjec puts it. In its emphasis on the imaginary, Screen theory neglects the symbolic relation as well as the issue of the real.

In Seminar XI, Lacan explicates the gaze in the midst of a discussion on Sartre and Merleau-Ponty. Again, Lacan’s gaze is something that pre-exists the seeing subject and is encountered as pre-existing it: “we are beings who are looked at, in the spectacle of the world” (75). But—and this is the crucial difference in emphasis—it is impossible to look at ourselves from the position of this all-seeing spectacle. The gaze, as objet a in the field of the visible, is something that in fact cannot be appropriated or inhabited. It is nevertheless the object of the drive, a cause of desire. The gaze “may come to symbolize” the "central lack expressed in the phenomenon of castration” (77). Lacan even says, later in the seminar, that the gaze is “the most characteristic term for apprehending the proper function of the objet a” (270). As objet a, as the object-cause of desire, the gaze is said to be separable and separated off from the subject and has only ever existed as lack. The gaze is just all of those points from which I myself will never see, the views I will never possess or master. I may occasionally imagine that I have the object, that I occupy the gaze, but I am also constantly reminded of the fact that I don’t, by images that show me my partiality, my separation. This is the separation—between eye and gaze—that manifests as the drive in the scopic field. 

The gaze is a position that cannot be assumed. It indicates an impossible real. Beyond everything that is shown to the subject, beyond the series of images to which the subject is subjected, the question is asked: “What is being concealed from me? What in this graphic space does not show, does not stop not writing itself?” This missing point is the point of the gaze. “At the moment the gaze is discerned, the image, the entire visual field, takes on a terrifying alterity,” says Copjec. “It loses its ‘belong-to-me aspect’ and suddenly assumes the function of a screen” (35). We get the sense of being cut off from the gaze completely. We get the sense of a blind gaze, a gaze that “is not clear or penetrating, not filled with knowledge or recognition; it is clouded over and turned back on itself, absorbed in its own enjoyment” (36). As Copjec concludes: “the gaze does not see you” (36).

So the holes and stains in the model continuously produced by the TikTok algorithm—those moments in which what we are shown seems to indicate a misreading, a wrong guess—are those moments wherein the gaze can be discerned. The experience is this: I am watching a modeling process and engaging with the serial missed encounters or misrecognitions (meconnaissance—not only misrecognition but mistaken knowledge—mis-knowing) that the modeling process performs. The Lacanian point would simply be the following: the situation is not that the algorithm knows me too well or that it gives me the illusion of mastery that would be provided by such knowledge. The situation is that the algorithm may not know or recognize me at all, even though it seems to respond to my behavior in some limited way, and offers the promise of knowing or recognizing me. And this is perhaps the stain or tuche, the point at which we make contact with the real, where the network of signifiers, the automaton, or the symbolic order starts to break down. It is only available through the series, through the repeated presentation of likenesses.

As Friedrich Kittler memorably put it, “the discourse of the other is the discourse of the circuit.” It is not the discourse of cinema or television or literature. Computational recommender systems operating as series of moving image loops seem to correspond strangely closely to the Lacanian models, to the gaze that is responsive yet absent, perceptive yet blind, desired yet impossible, perhaps even to the analytic scene. Lacan and psychoanalysis constantly seemed to suggest that humans carry out the same operations as machines, that the psyche is a camera-like apparatus capable of complicated performance, and that the analyst might be replaced with an optical device. Might we substitute recommender media for either psyche or analyst? In any case, it’s clear that the imaginary register of identification does not provide a sufficient model for subjectivity as it is addressed by computational media. That model, as Kittler points out, is to be found in Lacan’s symbolic register: “the world of the machine.”

[eclipse-vixen]

SNPTS FOR THE VEES SPECIFICALLY VOX PLSPLSPLS

Vees/Vox (Hazbin Hotel) Themed SNPT

System Names- Hell’s Network, Modernity Collective, The Troublemakers, Broadcasting System, All-Knowing Screens, Red Smoke Battery, Media Conglomerate, Virtual Assembly, Multimedia Company

Names- Virgo, Venus, Valente, Vienna, Vid(eo), Volt(age), Velocity, Telly, Atom, Pulse, Pixel, Logic, Data, Static, Error, Sharktooth, Villainelle, Nano, Cinema, Web, Signal, (An)Tenna, Digi, Link, Hypno, Dev, Devi

Pronouns- vi/vile, fame/famous, byte/byteself, bit/bitself, sync/syncs, pix/pixel, tele/vision, cra/crash, sin/sinself, neon/neonself, cyber/cyberself, sta/static, pop/popself, digi/digital, cha/channel, ca/cable, wy/wire, co/color, pic/picture, re/remote, cam/camera, on/line, vir/virtual, tech/techno

Titles- The Media Demon, The Media Outlet, The Demon of Screens, The Telemiracle, The Teledrama, He Who Brings Static, The Bluescreen, The Obsession, He Who Watches, The Video Star, The Hypnotic One, The Watchful Eye, The Biotech, The Studio Director

(You can replace he/his with your own pronouns)

[coyotiii17]

After watching a FNaF movie I was obviously extremely determined to draw something fnaf related. At first I wanted to draw something for the movie or the main 5 animatronics.... Buuuut FNaF movie made me feel so many emotions, especially about all those years when I was following fnaf and waiting for newer and newer games. I mean, it was FNaF that made me realize that I want to draw digitally, create animations and so on. If it wasn't for FNaF, I don't think I would be currently posting my works on the internet and improving every day. So, I decided to redraw one of my very old drawings that was made back in 2015, featuring my OC and my friend's OC: Coyotii and Wolferine. Here's the first version of this art and... oh boy:

Now this brings back memories. And it also brings another thing that FNaF did for me. Thanks for this game, I've met so many great people that I'm still friends with today. And so this art is a gift, for my amazing friend that was there since the very beginning c: I guess that's just my way of celebrating the fact that FNaF truly came the long way and I'm glad I'm here to experience it! Let's just say that nostalgia destroyed me in the cinema and it's still destroying me currently. Honestly I think I will need a loooot of time to truly start feeling like myself again! :'D

Also funfact: I admit, I was on of those people who complained about the red eyes and the fact that animatronics were going to be so expressive. I mean I wasn't hating, but I really wasn't satisfied with it. Buuuuut.... honestly I fell in love with both of those things and so I decided to add those details to my redraw! ALSO CAN WE TALK HOW CUTE ARE THOSE ANIMATRONICS FROM MOVIE???