#cold war film
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nine-frames · 1 year ago
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"A man with your responsibilities reading about the end of the world."
The Hunt for Red October, 1990.
Dir. John McTiernan | Writ. Larry Ferguson & Donald E. Stewart | DOP Jan de Bont
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schlock-luster-video · 5 months ago
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On July 23, 1964, Lord of the Flies debuted in the United Kingdom.
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morbid-hippie · 1 year ago
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The Day After (1983)
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When you close your eyes, you start remembering
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You can’t see it, you can’t feel it, and you can’t taste it, but it’s here
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They've got a hospital in Lawrence... 
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And then from the smoke came locust upon the earth
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You know what Einstein said? About World War Three? He said he didn’t know how they were gonna fight World War Three, but he knew how they would fight World War Four. With sticks and stones
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I’m not going anyplace
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I want to see my home before I die
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title · 2 months ago
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“May I rest my weary head on your shoulder?” (insp.)
In the Mood for Love (2000), Rafiki (2018), Cold War (2018), Your Name Engraved Herein (2020), But I’m a Cheerleader (1999), Moonlight (2016), Portrait of a Lady on Fire (2019), And Then We Danced (2019), Eternal Sunshine of the Spotless Mind (2004), My Own Private Idaho (1991), Anatomy of a Fall (2023), Lovesong (2016), God’s Own Country (2017), The Handmaiden (2016), Notorious (1946)
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lesbian-david-tennant · 3 days ago
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I just watched Star Trek: The Motion Picture and wow that really is some gay shit
I'd seen the "this simple feeling" scene, I was prepared for that. but I wasn't prepared for the full extent of the conversion therapy allegory
and then Spock saying "it knows only that it needs but like so many of us, it does not know what" while gazing at Kirk
and then the whole fucking resolution being that V'ger needs to discover something more, "a human quality, our capacity to leap beyond logic," through union with a human
it clearly parallels Spock and Kirk with V'ger and Will and directly implies that 'this simple feeling' is love, romantic love
WHAT THE FUCK I can only begin to understand what my fandom ancestors felt seeing this in 1979
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theorphicallure · 7 days ago
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I’m a different woman with you. And I don’t like myself that way.
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Cold War (2018).
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k-wame · 1 year ago
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OLEG IVENKO & SERGEI POLUNIN 2018 • The White Crow • dir. Ralph Fiennes
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samedmunds · 1 year ago
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East German Hijinks
I've been taking a look at the Cold War Museum in Virginia's digital archive of photos, interviews, and declassified documents from members of the US Military Liaison Mission in East Germany. It's a really weird bit of espionage history where basically each occupying power in Germany granted each other the ability to have stationed a handful of military personnel separate of any embassy or consulate who could just sorta... go places. They called it touring. These guys are sort of diplomatically immune and can go most places in the country outside of certain restricted zones (which the Americans immediately ignored).
Looking at the loosely organized photo gallery from servicemen who were stationed there from the 60s to the late 80s, there were a few commonalities that really stood out, in between family photos, state dinners, and visiting dignitaries. But every. single. person. had at least one photo of their service vehicle (usually a Jeep or a Ford muscle car) in a Situation.
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That second to last one there is left for the caption.
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They did a lot of off-roading so they could get covert photos of field activities, convoys, rail resupply, and field exercises. I'm particularly fond of The Device here
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But there's also a lot of the human element in there (lots of irritated Kommandatura)
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and my personal favorites:
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And this last one just has incredible vibes:
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nero-neptune · 8 months ago
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“I’m not a hero, I’m just a dancer.”
WHITE NIGHTS | 1985 | dir. taylor hackford
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humanoidhistory · 1 year ago
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Publicity stills for Invasion of the Body Snatchers (1956)
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blacknarcissus · 10 months ago
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Art direction in The Man Between (1953) dir. Carol Reed
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obscureloftgem · 3 months ago
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—“The Color of Pomegranates” (1969) | By Sergei Parajanov
Song: Born to Die by Lana Del Rey.
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schlock-luster-video · 6 months ago
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On June 16, 1983, Lord of the Flies debuted in West Germany.
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campgender · 1 month ago
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Cold War Hollywood cinema & the threat of the femme to the binary
Conclusion to Cold War Femme by Robert J. Corber (2011)
transcript under the cut
“[…] It didn’t want her to leave, and her poor bedeviled mind wasn’t strong enough to fight it. Poor Eleanor!” But Theo rejects this interpretation and provides an alternative construction of Eleanor’s desire, which does not deprive her of sexual agency: “Maybe not ‘poor Eleanor.’ It was what she wanted, to stay here. She had no place else to go. The house belongs to her now, too. Maybe she’s happier.”
In this way, the movie indirectly challenged the discourse of female homosexuality that circulated in American society during the Cold War era. In associating Eleanor’s sexuality with the supernatural, the movie suggests that it defies explanation. As a feminine woman who has made a lesbian object choice, her desire cannot be attributed to a pathological identification with masculinity. Rather, it requires an explanation that acknowledges her diference from the butch Theo.
The movie’s deviation from the Cold War construction of the lesbian surfaces more fully in its refusal to contain Eleanor’s desire. In the Cold War era movies tended to adopt one of two strategies for containing the threat the femme allegedly posed to the dominant social order. Some movies, like All About Eve, masculinized the femme’s identity by drawing on an older model of sexuality to mark her as a lesbian. In suggesting that the femme’s femininity rendered her lesbianism invisible by disguising her identification with masculinity, these movies assimilated the femme’s desire to the Cold War discourse of female homosexuality, which attributed the development of lesbian identities to a pathological rejection of femininity.
Other movies, like Marnie, contained the femme’s desire by ultimately realigning it with the institutions of heterosexuality. Rather than attribute the heroine’s perverse sexuality to a rejection of femininity that glossed over the diferences between her and the butch, these movies instead rendered her lesbianism “artificial” by attributing it to a traumatic childhood experience. Also drawing on an older model of sexuality, these movies assumed that the feminine woman who made a lesbian object choice was less deviant than the masculine women who did and thus could reorient her desire.
In adopting these strategies, Hollywood cinema refused to acknowledge the femme’s diference from both the butch and the straight woman. The Haunting adopts a diferent strategy: it kills off its heroine. It thereby indirectly validated the new system of sexual classification, which privileged object choice over gender identity. Eleanor’s femininity neither masks an identification with masculinity, nor indicates that she can be incorporated into the institutions of heterosexuality.
Unlike many of the heroines we have encountered in this book, Eleanor’s attempt to realign her sexuality with the law fails. She displaces her desire for Theo onto Dr. Markway, whose paternalistic interest in her she mistakes for love. But in so doing, she replaces an accessible object of desire with an inaccessible one. She does not realize that Dr. Markway has a wife (Lois Maxwell), until she shows up unexpectedly at Hill House to inform him that newspaper reporters are on his trail and to persuade him to abandon his experiment, of which she disapproves.
Mrs. Markway’s appearance precipitates a crisis in which Eleanor imagines that she wants to take her place in the house. Mrs. Markway disappears into the house after being terrifed by a supernatural experience in the nursery, the “cold, rotten heart” of the house where she has insisted on spending the night, and she gets lost searching for her husband. Eleanor increasingly takes on Hill House’s “sick” and “deranged” identity, indirectly confrming the perversity of her desire. In one of her voice-overs, which punctuate the movie, she remarks that she has begun to disappear into the house “inch by inch.”
When Dr. Markway insists that she leave the house while he and the others remain behind to search for his missing wife, she exclaims, “I’m the one who’s supposed to stay. She’s taken my place.” But Hill House cannot incorporate the normative Mrs. Markway, and it ejects her. By contrast, Eleanor’s death in the fnal scene insures that she retains her place in the house as a “kindred spirit.” Eleanor crashes her car into the tree when Mrs. Markway—who in a fluttering white nightgown looks like a ghost—frightens her by darting across the road, and she swerves to avoid hitting her. Despite her normative gender identity, Eleanor cannot be incorporated into the dominant social order.
But even as it acknowledges Eleanor’s diference from both Theo and Mrs. Markway, The Haunting provides a psychoanalytic explanation of her “abnormal” sexuality. Eleanor’s history bears an uncanny resemblance to that of Abigail and her paid companion. After Hugh Crain dies abroad, Abigail continues to inhabit the nursery, which suggests that his death arrests her development by preventing her from resolving the Oedipus complex.
She dies an old woman in the nursery when her companion has a tryst with one of the local “farmhands” on the veranda and fails to hear her when she knocks her cane against the wall. The tryst emerges as a violation of the companion’s homosocial bond with her mistress. After Abigail’s death, the companion lives on in the house in “complete solitude,” and haunted by her role in her mistress’s death she eventually commits suicide by hanging herself from the railing of the circular staircase in the library.
Abigail’s death has the same impact on the companion as her father’s death had on her. It arrests the companion’s development by turning her away from heterosexual romance. This representation of the companion’s relationship with her mistress reinforces the association between lesbianism and the supernatural in the movie. The nursery emerges as a site of perverse female desire, Hill House’s “cold, rotten heart,” which explains Mrs. Markway’s terror when she attempts to occupy it.
The representation also provides an explanation for Eleanor’s deviant sexuality by drawing a parallel between her and the companion. Eleanor feels guilty about her mother’s death and increasingly identifes with the companion. Like Abigail, Eleanor’s mother pounded on the wall of her room when she needed her. The night she died, Eleanor ignored her pounding and went back to sleep. Eleanor’s identification with the companion suggests that her guilt about her mother’s death has arrested her development; hence her desire for other women.
Tis treatment of Eleanor’s sexuality suggests that the feminine woman who made a lesbian object choice posed an even greater threat to American society than the Cold War construction of the lesbian indicated. In the Cold War era, Hollywood movies tended to promote lesbian panic by underscoring the femme’s ability to pass as a “normal” woman. Reinforcing the association between lesbianism and communism in Cold War culture, these movies attempted to show that the femme’s resemblance to the straight woman enabled her to spread her “abnormal” sexuality throughout society while escaping detection.
By contrast, in insisting on her diference from the butch and the straight woman, The Haunting attempted to show that the femme threatened to destabilize the binary construction of gender and sexuality. As her choice of the paternalistic Dr. Markway as a father substitute indicates, despite her identification with femininity, Eleanor cannot resume her Oedipal journey, which her relationship with her mother has interrupted.
Nor does her death in the fnal scene contain her “monstrous” desire. Her closing voice-over confirms Theo’s belief that Hill House now belongs to her, as well as to the other female ghosts who haunt it. Echoing Dr. Markway’s opening voice-over, Eleanor informs the viewer, “We who walk here walk alone,” as an image of Hill House appears on the screen.
In this way, The Haunting showed that in trying to repress the femme’s diference as a subject of desire, the Cold War construction of the lesbian had failed to counteract the threat she posed to American society. At once similar to and diferent from the butch and the straight woman, the femme continued to haunt the normative construction of American womanhood.
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audiemurphy1945 · 1 month ago
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Seven Days in May(1964)
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faaun · 1 year ago
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Jack Marsh (2005), Friendship Otherwise - Toward a Levinasian Description of Personal Friendship
#saw carnation lily lily rose by john singer seargent irl today. it was basically at my doorstep all along idk why i never went to see it#it was placed at a corner in the gallery. me and my friend sat down and sketched the paintings of beautiful naked people quite badly. paper#provided by tate britain. she told me about how she couldnt look her boyfriend in the face after a harrowing film about war. when i say the#interview was informal i mean the person who was supposed to be my boss told me let me get you a cider and then he said after#50 years of life he knows people are inherently good and it only takes a little bit of kindness to save this world. he said he tricked#his wife into keeping the baby and then he said he quit his job at a US bank to help people find meaning and in it#he would have liked to find meaning. instead he started climbing with his friends. he said he chews his cigarettes because its a habit from#when he had to hide things from people. the entire time i felt uncomfortable and incredibly enlightened. this is my friends mentor. she has#his pattern of pauses and expletive and penchant for ends-justify-means attitude. i do think im not very clever#but maybe one day i will love you enough to make up for it. i wrote code i dont understand staring at the final error i thought about how#we both thought of how when we're too old to remember the voices of our friends we would like to stand in the pathway of the LHC beam pipe#cut it open and eat light in the freezing cold vacuum (kills you long before radiation will) the invisible puncture wound unfolding dna#back to the start larger than you ever were. you go to heaven once youve been to hell. my friend is in my bed#practicing calculations of eigenvectors by hand and she is uninterested in a visual proof you are uninterested in incompetence#we catch a train this is your kind of burden you tragic hero wincing at that word you only do this because you have to. im the only one#who can. i am a coward in this for the fucking poetry. the visual proofs. the pretty numbers. an architect who was horrible at maths wanted#to be a philosopher and accidentally ended up neck in deep in 70th Error On Visual Studio Code i want to kiss your eyes before we say#goodbye we both know there is no love in the way there should be. I still have your dress in my wardrobe. i hope you make art.#you think im alright head-wise i think you fucking hate me i think ill never be so clever you want me to tell you my idea?#if you wanted more of this world i would have liked to kiss you harder. we cant both be like this. im sorry i cant be with you the whole wa#the love is gone if you have to ask it. his breath catches his eyes feel stiff it is -1.9 kelvin he is near the beam pipe i miss holding#his hand i miss her singing voice i miss his hair and i found the antonym of pain thank you for carrying me home.
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