#cinema marginal

[ourlittlesister2015]

O Bandido da Luz Vermelha (1968), dir. Rogério Sganzerla

[lucidezvazia]

yellow green green yellow mr. sganzerla

Copabana Mon Amour (1970)

Dir. Rogério Sganzerla

[shihlun]

Jean-Luc Godard receives a César d'Honneur, 1987

[youssefguedira]

happy pride to Me i am going for le otto montagne round 2 this weekend

[schlock-luster-video]

Happy birthday arthouse film icon, Warhol Superstar and Trash star Joe Dallesandro!

[itwoodbeprefect]

last line of wip!

Rules: Write the latest line from your wip (or post where you last left off in your art) and tag as many people as there are words in the line.

i was tagged by @mayberrycryptid! thank you!! 💖 this forced me to open the document and figure out what the last line i wrote even was, which was a pretty useful exercise in figuring out what’s going on all by itself.

i’m going to skip officially tagging people because i’ve already thrown so many tag games at so many of you this week, but !! this is an easy one! genuinely, if you see this (and you’re a writer, and you want to) do it and tag me, please (or even drop an answer in the replies)! i want to see your last line! 🕵️‍♂️📃

mine is from the starsky-watches-westerns wip, from a discussion starsky and hutch are having about stagecoach, the 1939 john ford film:

“Of course not,” Hutch says, only to immediately follow it up with, “Her name is Dallas.”

[thequeereview]

From The Margins: The Trans Film Image film series at MOMI, New York

In their new book, Corpses, Fools, and Monsters: The History and Future of Transness in Cinema, critics Caden Mark Gardner and Willow Catelyn Maclay examine how trans themes and trans people have evolved on screen over the past 60-plus years. In an upcoming screening series running at New York’s Museum of the Moving Image (MoMI) on July 13th and 20th, Gardner and Maclay have curated a selection…

[dgspeaks]

Finding Strength: A Review of "A Thousand and One"

Premiering at the Sundance Film Festival and winning the prestigious Grand Jury Prize, “A Thousand and One” is a captivating drama that explores the themes of family, resilience, and identity. Directed by A.V. Rockwell, this powerful film delves into the complexities of motherhood and the indomitable spirit of survival in the face of adversity. A Story of Unwavering Determination “A Thousand…

[tacticalhimbo]

fave comments from hbomberguy's newest video

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2024 EDIT: SIGHHHH...

since this is my most popular post here. regrettably. i'm amending the original and making it worth something.

that is why i am reminding you all:

don't watch this. don't watch his comeback don't give this asshole the attention he craves. he's a racist. he's a transphobe. he's a misogynist.

he is not worth the time, nor the effort. nothing he says is genuine. he lost all credibility, has stolen so much from so many people, and i doubt he would ever genuinely put the work in to rebuild it.

instead, check out the work of queer video essayists who actually care about their craft and/or have been ripped off by somerton:

or check out the work of jes tom, one of several prominent individuals that somerton has stolen work from:

and the work of gita jackson, who has made an atricle about what little options the creators somerton profited off of had (and likely continue to have):

also just... remember that while we have the privilege to have our laughs about something like this, many don't.

make sure that you aren't writing off this, or the ongoing predstrogen situation here on tumblr, or any similar situations, as something light-hearted. as something entertaining. respect the spaces of those involved in any "social media controversy", especially if they are part of a marginalized group.

their safety is more important than our entertainment ♡

[cinemafromcinema]

[taliasafamer112blog]

AfAmer112A#6

Jordan Peele’s film, Get Out, has had a significant impact on the trajectory of other marginalized horror films in several ways. Firstly, Get Out has demonstrated that horror films that focus on social and political issues that affect marginalized communities can be critically acclaimed and commercially successful. Peele implemented this unique combination of horror and social commentary that made it incredibly intriguing and resonated with thousands of people. The film ended up becoming a cultural phenomenon, as it made over 255 million dollars globally, and won multiple awards, including the Academy Award for Best Original Screenplay. 

The success of Peele’s Get Out has genuinely paved the way for other marginalized horror films as it shows how this genre of films can significantly impact and attract audiences, deeming it profitable and successful in more ways than one. Additionally, it proves that there is an audience that appreciates marginalized horror and can relate to the content of the films. Secondly, Get Out has broken barriers for many filmmakers who seek to create films for marginalized communities to share their stories and shed light on the unjust social and political issues they face on a larger platform for audiences worldwide to see. As a black filmmaker, the success of Get Out helped pave the way for other Black directors, actors, and writers to step into Hollywood and get to star or create horror films of their own or even other films that they otherwise may not have felt would have the capability to succeed. There have been many other films, such as Cristopher Renz’s and Gerard Bush’s “Antebellum,” that have been released since and have been directed by and starred Black creators, experiencing much success at the box office. Finally, Get Out has sparked a much larger and more important conversation that is absolutely necessary regarding the representation of marginalized communities in horror films. The film sheds light on the twisted ways that horror films have historically relied on harmful stereotypes and tropes to represent marginalized groups, especially Black communities. By overturning these tropes, Get Out has challenged the genre of marginalized horror films, opening the doors and leaving room for other creative visionaries and legendary, or underrated filmmakers to create films that challenge and overthrow these harmful representations.

Ultimately, Get Out has significantly impacted the trajectory of other marginalized and Black horror films as it demonstrates their commercial potential, relatability, ability to break down barriers for marginalized visionaries, and spark up the more prominent, necessary conversation about minority representation within the genre, and shed light on the unjust social and political issues that minorities experience. Although the current state of Black horror is quite successful and popular, unfortunately, things have the ability to return to the way they were, which I hope does not happen. I, along with many others, am optimistic for the future and look forward to watching many more sensational marginalized horror films that give voice to those silenced in the past, especially the people of color, and illuminate the truth about the daily struggles and unfair challenges that minorities experience.

[fibula-rasa]

The Narrow Margin had its Los Angeles opening OTD in 1952!

So, here's a little reblog from the archives of my cosplay of the wonderful Marie Windsor.

Cosplay the Classics: Marie Windsor in The Narrow Margin (1952)

Noirvember is approaching its end for 2020, and yet I have a lot of seasonal spirit to share. Here is my closet cosplay of Marie Windsor in The Narrow Margin (1952). When I first brought up the film on this blog, it was its production and style that stuck in my mind–I didn’t even mention Windsor. So, even though I plan on bringing up that style again here, let’s let the cosplay make amends for my previous oversight. Windsor is too good to omit.

The film follows detective Walter Brown (Charles McGraw), who has been tasked with escorting Mrs. Neall (Windsor), the widow of a gangster set to testify before a grand jury, by train from Chicago to Los Angeles. As gangsters try to cut Mrs. Neall’s journey short, Brown realizes the situation he’s in is more complicated than it seems.

The Narrow Margin is swiftly-paced and tense with impeccable sound design. Every performance is on point and each role is well-cast. Obviously, Marie Windsor as the brash and defiant moving target stands out. I really can’t recommend The Narrow Margin strongly enough, even putting aside my penchant for train movies.

That said… setting a feature film on a train (or any other vehicle) presents a unique challenge in keeping the film’s visuals and space dynamic. Failing at it can result in overly static visuals, unintentional claustrophobia, or the space of the film becoming too artificial; all of which can lead to viewers disengaging from the story. But, The Narrow Margin sets a gold standard by focusing on interplay between planes of action.

READ ON below the jump!

Keep reading

[angstics]

i recently read some work on james dean and it got me thinking about why his image was used by mcr from 2002-2004. (it was on their website, merch (1, 2), banner (1, 2), shirts, even their guitar straps into at least 2007)

it was a pretty big part of who they were. but they *never* talked about why they chose him. i had my theories about him being the epitome of "live fast, die young" and his reputation as a star rebel, and that's probably it. maybe even the "famous living dead", considering the X's. but i hadnt considered james dean's unusual kind of masculinity.

richard dyer briefly talks about dean in comparison to rock hudson in his book "the culture of queers" (2002). comparing acting styles, dyer sees hudson as classic hollywood - straight, stiff, normal - while dean's naturalism "suggests someone ill at ease in the world, marginal and insecure." to dyer, hudson is stable heterosexuality, dean is insecurity associated with homosexuality. i connect this further to how it isn't just stability in sexuality, but in gender performance as well. dean's anxiety is so physical (intense eyebrows, hunched shoulders, flailing and wailing) that it's closely linked to how he's perceived, and how he's perceived as a man. he is insecure in his body, as if he's trying to escape it. he lacks masculine traits such as confidence, emotional stability .. even class (he directly represents this narratively in rebel without a cause). it wasnt the strong masculinity cinema, and dominant culture, favored. deyer also attributes dean's appearance (along with other actors' like monty clift and sal mineo) to othering him from the hudson-gable-cooper dominant masculinity: "physically slight, with intense eyes and pretty faces". many things contribute to the conclusion james dean disrupted dominant masculinity. im reading a book on this rn so im sure there's more to say (the book is gay fandom and crossover stardom by michael deangelis).

sooo i think that out of historical context, dean isnt as much disrupter. pretty much any idiot emo boy wants to act like james dean. he's cool now. but i like reading uneasy masculinity when i see that mychem poster. im not saying it was intentional, but dean's anxiety is the most important aspect of his acting to me. that necessarily translates to his expression, including gender expression. also i trust that film major and hitchcock-tattooed ray toro knows something about rebel without a cause

[youhavethesun]

it’s the way every literati scene has the potential to be my favourite scene. like they just hit so hard every time.

‘I don’t even know you’ to ‘I know you. I know you better than anyone’ immaculate the symmetry the parallels the angst

‘I wanted to put some notes in the margins for you’ ahhhhhhh

‘you know, ernest only has lovely things to say about you’ absolutely stunning, when I was 16 I actually wrote this on my hemingway notes for school that’s how unwell this line made me

‘why are you only nice to me?’ I have fallen off a bridge

‘why’d you call?’ ‘ I-’ ‘I’m glad you called.’ :))))

‘turn right.’ ‘as you wish.’ my heart actually stopped beating. jess quoting the princess bride was a life changing occurrence for me

‘I made sure she was okay.’ heartbreaking. sobbing on the floor.

‘this was fate!’ ‘I think it was.’ soulmates soulmates soulmates

‘because. you didn’t say goodbye.’ okay just rip my heart into pieces that’s fine

‘I think I may have loved you but I - I just need to let it go’ EGOT material this is CINEMA

‘what do you have to say to me?’ ‘I love you.’ jaw dropped absolutely unhinged

‘you can count on me now. I know you couldn’t count on me before but you can now. you can.’ crying crying crying

‘you know we’re supposed to be together. I knew it from the first time I saw you two years ago’ invisible string of fate helloooo but also I’m crying again

‘happy birthday, by the way. wasn’t that couple of weeks ago? your birthday?’ completely devastating

‘it is what it is. you. me.’ my heart shattered into a million pieces I have actually never recovered

[chaos0pikachu]

Is BL Being Overly Influenced by Modern Western Romance Tropes?

Short answer: No. anyways, in the following essay I will explain that James Cameron is a weeb...

(okay fine~~ lets actually do this)

TLDR: discussing what media globalization is, how fandom can distill it down to only American/European cinema, showcasing how a lot of current BL is influenced by countries within it's own proximity and NOT "the west" but each other, also James Cameron is still a weeb

I had seen a post that basically proposited that BL was being influenced by modern western romance tropes and had used things like omegaverse and mafia settings as an example. I found this, in a word, fucking annoying (oh, two words I guess) because it's micro-xenophobic to me.

It positions western - and really what we mean by this is American/European countries, we're not talking about South American countries are we? - cinema as the central breadbasket of all cinema in and of itself. Inherently, all following cinema must be in some way, shape, or form, influenced by American/European standards, and as such America/European countries are directly responsible for cinema everywhere else, and these places - namely non-white countries - do not influence each other, nor have their own histories in regards to storytelling or cinema and do not, in turn, also influence American/European film making either.

Now like, do I think all of that~~ is intentionally malicious thinking on behalf of folks in fandom? No, so chill out.

I do, however, think a lot of it is birthed from simple ignorance and growing up in an environment where ~The West~ is propagated to be central, individual, and exceptional as opposed to the monolith of "Asia" - by which we mean China, Korea, Japan don't we? How often in discussions of Asian countries is Iran, India, or Saudi Arabia brought up even tho they are all Asian countries? - or the monolith that is South America - in which some folks might believe regions like the Caribbean and/or Central America belong to, but nope there both North America.

Anyway, what we're talking about here is the concept of "media globalization":

"The production, distribution, and consumption of media products on a global scale, facilitating the exchange and diffusion of ideas cross-culturally." (source)

"The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. [...] the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. [...] Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient’s culture." (source)

Typically when I see fandom discussing what falls under MG the topic is usually focused on how "the west" is influencing Thai/Korean/Chinese/Japanese media.

Enter, Pit Babe.

Surely Pit Babe was influenced by Supernatural right? Omegaverse is huge in the west - love it, hate it, meh it - it originated in the west - specifically via Supernatural after all.

Nah.

Omegaverse has been popular in Japan and China for almost a decade, if not longer. The earliest omegaverse manga I can think of is Pendulum: Juujin Omegaverse by Hana Hasumi which was released in 2015, almost a decade ago.

(what if you added furries into omegaverse? WHAT IF?? - Japan)

There's countless popular omegaverse manga too, and the dynamics only moderately resemble the ones we're familiar with in the west. Juujin is part omegaverse and part furry/beastmen - the alphas are all beastmen the omegas are humans - while something like Ookami-kun Is Not Scary only slightly resembles omegaverse dynamics as a hybrid series - beastmen are really popular in Japan in part b/c of historical mythology (you see the combination of romantic Beastmen and Japanese culture & folklore in Mamoru Hosoda's work The Boy and the Beast and Wolf Children).

Megumi & Tsugumi (2018) is so popular they're an official English edition published by VIZ's imprint SuBlime and that's a straight up omegaverse story.

(look at the omega symbol on the cover loud and proud baby)

So if Pit Babe was influenced by anything, it certainly wasn't "the west" it was Japan, Korea and China. Because those countries have a thriving omegaverse sub-genre going and have had such for 10 plus years now. Supernatural is popular in Japan, yes, and that may be where Japan and Japanese fans originally found omegaverse as a fictional sub-genre.

HOWEVER

Japanese fans took the sub-genre, bent it, played with it, and evolved it into their own thing. As such, other countries in their proximity, like Thailand, China, and Korea who read BL and GL manga, found it and were like "hey, we wanna play too!"

(is that an omegaverse yuri novel I spy?? yes, yes it is)

When I watched the Red Peafowl trailer, it had more in common with Kinnporsche, History: Trapped, along with films and shows like: Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, Lee Chung-hyeon's The Ballerina, Baik's Believer & Believer 2, Yoshie Kaoruhara's KeixYaku, popular Don Lee films The Gangster, the Cop and the Devil and Unstoppable alongside BL manga like Honto Yajuu and Bi No Isu (probably one of the most well known yazuka manga to date).

Like, we're seeing a rise in mafia based BLs and people think that's because of "western influence" and not the absolute insane success of kinnporsche??? Especially in countries like China, Korea, Taiwan, Philippines and other Asian countries???

Mafia films and gang shows aren't even that popular here in America/Europe; don't get me wrong, they still get made and exist, but the last full length film was The Irishman which did not make it's budget back, and while Power is still on-going it's not a smash hit either. The heyday of Breaking Bad, The Sopranos, The Wire, Goodfellas, and Scarface are long gone. And if you've watched any those shows or films they have very little in common with Kei x Yaku, Kinnporsche, or Red Peafowl in tone, or style.

(who knew martin just wanted to make his al pacino/robert de niro fanfic come to life all these years?)

Another example, The Sign, which is clearly taking inspiration from Chinese costume dramas: Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again, and previously mentioned cop dramas.

Like, I know y'all don't think Twins is influenced by, what, American sports classic Angels in the Outfield?? Gridiron Gang?? Rocky?? Nah that shit is inspired by the popularity of sports manga like Haikyuu!!, Slam Dunk, Prince of Tennis (which even has a Chinese drama adaption), and the like. And also probably History 2, & Not Me but I'm like 87% sure Twins is just Haikyuu fanfic.

So like, does this mean that there's NO history in which American and European cinema influenced these countries? What, no, obviously that's not true, American/European totally have had media influence on countries like Korea, Japan, etc.

Astro Boy by Osamu Tezuka considered "the father of manga" was inspired by Walt Disney's work on Bambi. Another more recent and prominent example is director Yeon Sang-ho and his film Train to Busan.

"And it was Snyder’s movie [Dawn of the Dead, 2004], not the 1978 original, that filmmaker Yeon Sang-ho recalled as his first encounter with the undead. “That was when I started my interest in zombies,” Yeon said, in an email interview through a translator from South Korea. Even today, he added, “it’s the most memorable and intense zombie movie I’ve ever seen.”" (source)

HOWEVER, the global influence doesn't stop there. It's not a one-way street. Yeon Sang-Ho was inspired by Zack Synder's Dawn of the Dead, a remake of George Romero's own work, but Yeon Sang-Ho's work has inspired countless Korean film makers to make their own zombie media; following Train to Busan there's been: Kingdom (2019 - current), All of Us Are Dead (2022), Zombie Detective (2020), Zombieverse (2023), Alive (2020), Rampant (2018).

And hey, wouldn't you know it now we're starting to see more zombie media coming out of places like Japan (Zom 100 the manga, movie, and anime) and High School of the Dead.

Do you know what Domundi's series Zombivor (2023, pilot trailer only) reminds me of? It's NOT The Walking Dead (which is the only relevant zombie media America has created in the last decade) it's Korea's All of Us Are Dead (2022). Comparing the trailers, the settings, the tone, it's clear where Zombivor is pulling inspiration from: Korean zombie cinema. NOT American zombie cinema.

In fact a lot of Domundi's shows - Cutie Pie, Middleman's Love, Naughty Babe, Bed Friend - are all very clearly inspired by Korean filmmaking, specifically that of romantic kdramas from the 2016 - 2020 era. Not always in story, but rather in technique.

This is media globalization. It's not simply ~The West~ influencing non-American/European countries but countries who are often more close in terms of: proximity, culture, and trade are going to have more influence on each other.

It is far more likely that Aoftion (Naughty Babe, Cutie Pie, Zombivor) was influenced by watching Train to Busan, All of Us Are Dead, and other Korean zombie shows and films than a single episode of Walking Dead.

My point isn't that this goes one way only, but rather it is very literally a global thing. This includes American and European film makers being influenced by non-American and European cinema.

Martin Scorsese, Steven Spielberg, Darren Aronofsky, Christopher Nolan, the Wachowski sisters, George Lucas and James Cameron have all been influenced by Japanese film making, especially the works of Akira Kurosawa, Satoshi Kon, and Mamoru Oshii.

John Wick's entire gun-fu sub-genre is heavily influenced by classic Hong Kong action films, specifically John Woo films. Legend of Korra, The Boondocks, Voltron, Young Justice, My Adventures with Superman are all obviously inspired by Japanese anime but animated by a Korean animation studio (Studio Mir). Beyond that, the rise in adult animated dramas like Castlevania, Critical Role Vox Machina, and Invincible to name a few are very clearly taking inspiration from anime in terms of style. The weebs that were watching Adult Swim's Inuyasha, Bleach, and Dragon Ball Z have grown up and are now working in Hollywood.

Okay so like, what's the point of all this? What's the issue? Since American/European cinema does influence et all cinema does any of this really matter?

YES.

I take contention with this line of thinking because it centers "the west" and our supposed individual importance way to much. Declaring definitively that "BL is being influenced by western tropes" and then including tropes, narratives, and film making styles that aren't inherently western and actually have major roots in the cinema of various Asian countries, removes the existence of individual history these countries have which are rich, varied, and nuanced. It removes the "global" part of globalization by declaring "the globe" is really just America and Europe.

It distills these countries down to static places that only exist when American/European audiences discover them.

BL doesn't exist in a vacuum you can trace the development of Korean BL to the development of Korean het dramas almost to a T. You can also trace their development to the queer history of each country and how Thailand interacts culturally with China, Japan, Korea, etc and vice versa. It also ignores the history of these countries influencing American cinema as well. Don't mistake "the globe" for only your sphere of experience.

Anyway James Cameron is a damn weeb y'all have a good night.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]