#and it's to add as many butches (ideally large) as possible

[isingofvioletsandaquill]

Being a fledgling fan of Transplanar is great because it's making me go "wait a minute... are there enough butches in my campaign setting?"

And then when I start brainstorming a new butch, I go "hmmm... is this adequate?"

And then a little spirit in the shape of Connie Chang appears in my mind palace and says, "make them even more butch. Also, make at least two butches if you're adding characters, why would you leave it at one?"

"Thank you, specter of Connie Chang," I say, and then furiously start typing in my lore doc.

[letterdrill08-blog]

The nailart Diaries

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Not known Facts About food recipes

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[cabhonours-blog]

Tropes, Strategies and Character Planning

The comfort strategy is intended to comfort mainstream audiences and “depicts gays in ways that support rather than threaten the heterosexist order”, a move which requires that homosexuality is tamed “by having gay characters serve as comedic foils to heterosexual leads, by portraying them as asexual and apolitical, and by depicting them as self-policing and impossibly perfect protectors of the heterosexist socio-sexual order” ([2002] 2012: 197).

The discomfort strategy uses mostly overtly negative representations of homosexuality. Brookey and Westerfelhaus note that a “second strategy portrays gays in negative terms—as depressed and disturbed, as pathetic victims, or as dangerous predators—and thus reaffirms homophobic biases held by many mainstream audience members” ([2002] 2012: 197). This strategy pursues an outright rejection of homosexuality through an uneasy coupling with pathology and deviancy. 

The subtext strategy is, at least when compared to the other two, a rather curious one as it may attempt to represent homosexuality through heterosexuality. This strategy “hides the presence of gays—and any gay sexuality—through the inclusion of subtextual cues that are easily read by the gay audience but are virtually invisible to unsympathetic and unknowledgeable mainstream audiences […]. Such hiding rarely is complete, however, nor is it intended to be.” (Brookey and Westerfelhaus [2002] 2012: 197). 

------------------------------- 

Above are the 3 strategies used to “hide homoeroticism in plain view”, as studied by Brookey and Westerfelhaus in 2002 and referenced in Kim Johansen Østby’s doctoral thesis [see blog]. As these are the 3 main strategies used, combining each of them with a common lesbian stereotype is how I’ve decided to best tackle the character creation for this project. 

Below, I’m going to brain-storm common media tropes and then I can work on filtering it further,

Lipstick Lesbian: A hyper feminine woman who can appeal to the male gaze, who is only attracted to other hyper feminine women. Proportionally seems like the majority of lesbian women despite being a smaller percentage, due to the media bias towards them. Lipstick Lesbians and Femme Lesbians are often troped as being “velvet covering steel”; the idea of appearing weak/soft but being fierce/powerful/dangerous underneath. Also ties into the “Straight Gay” trope as these are women who appear otherwise straight and fit into heterosexual culture.

[Trigger Warning: slur] Butch “dyke”: Lesbian characters shown only as being stereo-typically overweight, short-haired, aggressively masculine women. The flip side of the coin to Lipstick Lesbians. One of the biggest issues with enforcing the femme/butch dynamic is that it stereotypes the idea of paralleling a heterosexual relationship – there must be a masculine and feminine counterpart. Butch Lesbians often tie into other tropes, including; Jock Lesbian (plays sports or is heavily invested, and is thought of as a lesbian due to this), or Gender Reveals (people not realising the character is a woman until it is “revealed” as a plot twist). Butch Lesbians are often troped as “steel covering velvet”; the idea of being hardy on the outside but soft inside.

Bury Your Gays: Gay couples never getting a happy ending, as one must always be killed off, often for the betterment of a heterosexual relationship. Is also known as Dead Lesbian Syndrome. It had died off as a trope until a major resurge in 2015/16 that faced a lot of backlash and has driven it back into the spotlight.

“Best Friends”/”Hide Your Lesbians”: Queer baiting by having heavily queer coded, intimate relationships between women (at times including them kissing as “experimentation”) but claiming the women are actually straight and it’s simply “incredibly close friendship”. The main character will often end up with the male love interest instead, with the blatant intimacy developed between the other two being discarded and given no resolution. Ties in closely to the idea of “Bait and Switch Lesbianism” in which Lesbian relationships are portrayed to be the focal point of the story, but upon delving further in, that is then pushed aside and they are treated as simply having a “romantic close friendship” and instead “safer” relationships can be developed instead. Often results in people calling media out for queer baiting and fanservice.

Psycho Lesbian: A horrible older trope in which all Lesbian women were depicted as crazed and villainous. They would be deviants, and often used as negative parallels to the male hero.

Magical Queer: The idea that the gay character must be all-knowing, wise, caring, helpful, and all encompassing in comparison to the “straights”. They often end up massively helping the straight characters and tie heavily into Bury Your Gays, as they’ll often be killed off in a heroic sacrifice for said straight characters.

Girl-on-girl is Hot: The idea that lesbian relationships are done to entice men, and for their sexual pleasure. This fetishization leads to lesbian media being made for the male gaze and is largely influenced by the porn industry.

Schoolgirl Lesbians: Quite common in teen media. Female school friends are shown in the “best friends” way to have a romantic friendship and appear to be dating. This is steeped in issues in Japanese culture, as this is considered normal in Japan and is referred to as “class S relationships” – relationships where young girls have romantic feelings for each other, but it’s never expected to turn physical and instead is meant to teach girls about “real” relationships as they’ll see the contrast with their “real” feelings for men when it happens. This adds even more problems as if women grow up and pursue these relationships or retain these feelings, it’s considered a sign of immaturity instead of being recognised as lesbianism.

LUG (Lesbian Until Graduation): Girls who “experiment in college” as a rebellious phase due to their newfound freedom, but are “really straight” and don’t take it further into their adult lives.

Sorry I’m Gay: The idea that a character is unobtainable, often creating a comedic point or angst, due to the fact that the person is of incompatible orientation.

Gayngst: Angst gay characters are ridden with. For example, due to struggling with themselves, they often suffer with alcoholism, substance abuse, self loathing, internalised homophobia, unrequited love with heterosexuals, suicidal tendencies, and wishing to be “normal” (AKA straight).

Rape-and-switch: The idea that a character is only gay due to trauma. The character will have suffered a history of rape, usually by a man (and it will have been penetrative), and due to this they are now too scarred to date men and will be gay instead. This has horrible connotations especially into real life, given the mass issue of “corrective rape” in which gay people are often raped to “fix” them and force them to conform to heterosexual ideals.

If It’s You, It’s Ok: The idea of being “gay with an exception” instead of bisexual as a means of erasure. Despite a character being stated as gay, they will be interested in just one person of the opposite sex, because that one person defies their standard preferences. However, it is not seen as bisexuality, merely due to the wonder of this person. (Even one person is still bisexuality, folks.) 

Depraved Bisexual: The bi counterpart to the Psycho Lesbian, except their bisexualism is the entire core of it. They’re willing to sleep with anyone, so why not? They’re manipulative, sexually driven, and will do anything to get with who they want. Also negatively perpetuates the idea that bisexuals can’t be trusted due to this personality type, and the fact that they’re so manipulative and sexually driven that they’ll often cheat. These tropes plague bisexuals in real world relationships as well. Has links to the Anything That Moves and Extreme Omnisexual tropes, in which people have extremely wide standards and no particular preferences for age, appearance, or even species.

 Having looked into all of this, I’ve settled on having 4 characters as I want to add in one male option. This character would only be selectable if you choose to have your character as bisexual at the start, and their path would feature the “Sorry, I’m Gay” tropes in that even if you choose to pursue them, you’re unable to. Perhaps would feature the character as being portrayed as a butch/androgynous woman, for them to then have a “gender reveal” that they’re really male and gay when rejecting you.

Other characters will be coded as follows;

Subtext Strategy – A “Hide Your Lesbians” character, likely a Lipstick Lesbian, who is feminine and incredibly queer coded with your character but will ultimately get a boyfriend/turn out straight/reject you. Perhaps tied into LUG as well.

Discomfort Strategy – Psycho Lesbian character steeped in Gayngst, who will ultimately attempt to kill your character and/or themselves, and possibly succeed (Dead Lesbian Syndrome/Bury Your Gays).

Comfort Strategy – Butch Lesbian who is comedic, and seemingly a powerful character that ties into the Magical Gay trope. Will sacrifice themselves for the betterment of the main character – perhaps saving them from the Psycho Lesbian character, or other plot point. Will be seen as “safe” as they’ll be masculine focused, therefore adding to the hetero idea that women are attracted to masculinity. However, their story will be the least romantically focused despite being the most stereo-typically queer in appearance, as they’re a comedic comfort to the audience – the butch doesn’t get love, they get laughter.

Furthermore, by having multiple characters die it will highlight the issues with mass LGBT character death in the media and highlight the ludocracy of the trope. 

[njawaidofficial]

How a Polish Cinematography Festival Became a Bellwether for Oscar Season

http://styleveryday.com/2017/08/29/how-a-polish-cinematography-festival-became-a-bellwether-for-oscar-season/

How a Polish Cinematography Festival Became a Bellwether for Oscar Season

Twenty-five years ago, a small group of movie enthusiasts in Torun, a city in northern Poland, decided that not enough attention was paid to cinematographers, the men and women responsible for capturing images on film. So they approached two icons of the craft — Sven Nykvist, who had shot many films for Ingmar Bergman, and Vittorio Storaro, who had worked frequently with Bernardo Bertolucci — to see if they would be willing to take part in a new film festival.

Marek Zydowicz, the founder and current director of what has become Camerimage, laid out a manifesto: “The role of cinematographers and their importance as contributors to the visual effect of the whole construction — the final shape of the film picture — is usually underappreciated. Yet the creation of moving pictures by means of a camera goes back to the sources of the cinema and camera storytelling, in which a picture, equally with the plot, accumulates the meaning. This would not be possible without the great art of cinematographers.”

And so the first Camerimage was held Nov. 22 to 28, 1993, in Torun. Nykvist, an Oscar winner for Cries & Whispers and Fanny and Alexander, attended, and he received the first Golden Frog Award for Lifetime Achievement in cinematography. (While Berlin hands out a Golden Bear, and Venice, a Golden Lion, Camerimage chose an amphibian as its standard-bearer.) Three-time Oscar winner Storaro (Apocalypse Now) agreed to be a member of the jury, alongside then-president of the American Society of Cinematographers Victor Kemper (Emmy nominee for Kojak: The Price of Justice). The jury voted to give its first Golden Frog for best cinematography to Stuart Dryburgh for Jane Campion’s The Piano.

A quarter of a century later, Camerimage has become so established that, on the week of Nov. 11, any name cinematographer who isn’t working is likely to be found in Bydgoszcz, Poland, where the festival — this year’s edition is officially dubbed the 25th International Film Festival of the Art of Cinematography Camerimage — now takes place. (Bydgoszcz lured it away from Lodz in 2010, when plans for a new theater in Lodz hit an impasse.) The fest doesn’t focus on premieres or red carpets; instead it screens programs in 10 competitive categories, which includes a main lineup of new feature films as well as documentaries, music videos and TV pilots, while also hosting panel discussions, workshops and product demonstrations. Last year, it attracted 72,000 attendees, featuring 610 cinematographers from 45 countries.

The event has emerged as a bellwether for what’s to come during Oscar season. In three of the past four years, the winners of Camerimage’s Golden Frog in the main competition have gone on to earn Oscar nominations. That includes 2013 winner Ida, which won the Oscar for best foreign-language film and earned a nom for cinematographers Lukasz Zal and Ryszard Lenczewski; 2015 winner Carol, which collected six Oscar nominations, among them one for cinematographer Edward Lachman; and 2016 winner Lion, which earlier this year earned six Oscar nominations, including one for cinematographer Greig Fraser. (The 2014 Golden Frog winner, Leviathan, was nominated for a foreign-language film Oscar.)

“Camerimage has become a trendsetter for the Academy Awards,” says Kees van Oostrum (Return to Lonesome Dove), president of the American Society of Cinematographers. “Because of the large concentration of great work and the exposure it gets, it seems to solidify great cinematography.”

“Marek and [festival office director] Kazik Suwala contacted the ASC very early on for support,” recalls ASC’s former president Richard Crudo (American Pie). ASC responded by inviting them to its own awards show and associated events each year. “They have done a tremendous service to cinematography,” adds Crudo. “Everyone makes the effort to go.”

A list of past attendees and honorees features some of cinema’s most influential cinematographers: Among those honored with Camerimage’s Lifetime Achievement Award are Owen Roizman (The French Connection) and Michael Chapman (Raging Bull), in addition to the late Laszlo Kovacs (Easy Rider), Vilmos Zsigmond (Close Encounters of the Third Kind), Conrad Hall (Butch Cassidy and the Sundance Kid), William Fraker (Bullitt), Haskell Wexler (Who’s Afraid of Virginia Woolf?) and Michael Ballhaus (Goodfellas).

For many attendees, the event begins at Warsaw Chopin Airport, followed by a drive of several hours to Bydgoszcz. Cinematographer Rachel Morrison (the upcoming Mudbound) says of her first Camerimage: “I was there with a short film in the student competition, and I shared the shuttle with [Uruguay-born cinematographer] Cesar Charlone. Actors don’t intimidate me, but Cesar Charlone — I was totally starstruck. City of God is one of my favorite films. We chatted the whole way to the festival. I picked his brain on everything from 16mm film to how one managed to have a family as a working DP.”

A year ago, Fraser was in Italy shooting Mary Magdelene for his Lion director, Garth Davis, when he received word that Lion had won the Golden Frog. Unable to attend, he quickly recorded remarks from the set, which were played during the ceremony. “I’m a huge fan of Camerimage, and I was glad I was able to give a speech,” he says, adding that it was important for him to be able to talk about the entire team, from the crew to the equipment suppliers. “At general awards shows, you don’t have time to talk about your [crew], but at Camerimage you can discuss how they all helped contribute to the look of the movie. Also, suppliers like Panavision and ARRI are often overlooked, but they are tireless in working to make our tools better.”

Though all of the details for this year’s fest haven’t been revealed, Paul Hirsch, who cut the original 1977 Star Wars, will receive the Editors Award, and the Lifetime Achievement Award will be presented to John Toll, who has earned consecutive Oscars for Legends of the Fall and Braveheart. Reflecting on Camerimage, Toll says, “Since there is usually only one cinematographer working on a film, the festival is a unique opportunity for cinematographers to meet one another and share ideas.”

•••

THE TOWN THAT HOSTS THE FEST Founded in the 14th century, the Polish city of Bydgoszcz, home to Camerimage since 2010, offers appropriately picturesque charms.

Słoneczny Młyn Hotel  The four-star hotel, which boasts art nouveau and art deco decor, occupies what once was a 19th century mill on the banks of the Brda River.

Weranda Restaurant Located in the Bohema Hotel & Spa, it is celebrating its 10th anniversary and offers dishes like goose leg on a bed of carrots with lentil dumplings.

Old Market Square Cafes and restaurants, ideal for quick meetups or casual people-watching, line this landmark at the center of the city, which was established in 1346.

To Toast the Awards Want to drink like the Polish locals? Favorite libations include Zubrowka and Wyborowa vodkas and Zywiec beer.

This story first appeared in the Aug. 23 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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