#for all the VinTi fans out there
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phantomyre · 3 days ago
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Vincent Valentine model from Ever Crisis Model is still undergoing tests (model rigging by Freeshooter Recordings on YouTube). Video sample
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rilldineth · 5 years ago
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So a friend of mine told me that given that we are now in 2020, it will be fun if I did a top 20 ships of the past decade for me and boy, did I thought was a good idea and I have decided, why not right? I will be listing them here and...if followers decide to read it...well...
You will quickly notice that probably that most, if not all the ships fall on the following categories: a) rare-ships that are obv not canon; b) ships that are obviously crack; c) ships that had wasted potential, the ones hinted but never happened or briefly happened in canon and writers decided to fuck up. There’s also only one...one RL ship and I am ashamed yet not, but had to list it because I spent a long time hung up on it so don’t judge me.
So yes list...
Before the list, no list is complete without some honorable mentions, these are mostly ships I either got into the hype to recently (not being dedicated for years as the one I will list) or had my fancy then lost it.
HONORABLE MENTIONS:
Charlastor from Hazbin Hotel (recently got into it)
Clack from Final Fantasy VII
Cloud x Squall from Final Fantasy/KH series.
Hayffie from The Hunger Games.
TodoMomo from Boku Hero no Academia.
Gency from Overwatch series ( on and off )
RinMako from Free!
Terraqua from Kingdom Hearts series.
TOP 20 SHIPS OF THE PAST DECADE
20. Spuhura - Spock x Nyota Uhura (Star Trek original and reboot): Again this was another ship that I liked, since the original series, while everyone was Spirk this and that, I was like,’’yas, yas give me the sweet, sweet Spock and Uhura interactions’ and I was happy the reboot hooked them up, even if that ended dubiously but for a glorious moment, I had it.
19. Swarkles - Barney Stinson x Robin  Scherbatsky (HIMYM): This is one of those ships I am bitter, bitter and salty about, there are more in this list in fact next spot is another one. But I loved it and I did think they complimented each other better than the wet noodle they stuck Robin with, they took the time to know the other, grown separately and then together, the episode where Barney proposed to Robin gave me all the feels and it was so sweet, and then fuck the writers deciding to do what they did. It’s no wonder the finale of this show is so hated.
18. Lotura - Lotor x Allura (Voltron Legendary Defender): When they announced a new reboot to Voltron I didn’t think much of it. I had fancied Lotor x Allura in the original series, as dubious as that was, but then I started to watch this Netflix thing and there was something between them, something more tangible and I was happy. It was this strong woman with an equally strong man encouraging her strength and not putting her in the box of the exotic pretty princess, like a certain dude, and wanted to know her mind and interests, they discovered things together and for a brief moment knew peace and I was here so happy that we were getting something good and then fuck the writers again that decided ‘Nah bro, you’re not getting it’ and you know to fuck off again. I will always have fan fiction I guess.
17. VinTi - Vincent Valentine x Tifa Lockhart (Final Fantasy VII series): This is a ship that I think started to like during my second playthrough of the game, I always figured the both could work, both having loved people that for one reason or another couldn’t fully love them back (Lucrecia due to damn guilt and Cloud because of Aerith) and both were mature enough to fit together, I just like them okay.
16. Helsa - Hans x Elsa (Frozen): Truly, I have never made it a secret that I really dislike this movie, I truly do. The only good things were Hans (which I am still huh at the ‘turns out he is evil’ I still call trolls) and Elsa (because of her damn powers) and then the next step was shipping them and honestly, he should have gone for the older sister lmao, they make more sense and there have very nice fiction out there.
15. Yuzuvier - Javier Fernandez x Yuzuru Hanyu (Figure Skating): Ahh, we have reached my dreaded and dark secret only RPF fancy. Be it broship or more, I always liked the friendship and camaraderie these two skaters had with each other, they were rink mates and rivals but above all friends. I was kokoro break when Yuzuru was telling Javi that he couldn’t do it without him and stop it you two. I just like them, they are wholesome.
14. Victuuri - Viktor Nikiforov x Yuuri Katsuki (Yuri!!! On Ice): And here we have another precious figure skating duo when I started to watch this series it was only because it was a figure skating anime and I love figure skating, I never expected to see a wholesome and wonderful healthy relationship to explode in front of me. The relationship between Viktor and Yuuri is just so lovely, so mature, they both worked through issues, grew from them and accepted them even and I can’t I love it. (Special mention here to Yurio x Mila, as is another ship I love from this series and so underrepresented).
13. Jonerys - Jon Snow x Daenerys Targaryen (ASOIAF/GoT): Regardless of the stupidity committed in the series, I have shipped them since the books, because I can read in between the lines and there are too many parallels between them and their journeys, ones that at will some point collide and bring them together in a way that will be worth it, so better make it count George. 
12. Rhaegar Targaryen x Lyanna Stark (ASOIAF/GoT): Yes, mea culpa, I love tis ship and no one can shame me for liking it and boy has people tried to do so. Were these two smart of escaping like that and not saying a thing? Nope, they were so not. Was Brandon smart going to Kings Landing, knowing there was a crazy king with a penchant of burning people and demanding his heir's head? Nope, that was probably the stupidest move of all. Do I want to believe they loved each other? Why not? Martin has a penchant for tragic love stories, I know this ship is problematical for some, but I still love it and if you see spot 10 here, well I have varied tastes.
11. Soriku - Riku x Sora (Kingdom Hearts series): Come on, this is a given. Prior to Kairi appearing, it was clear Sora was Riku’s world and Riku’s was Sora, they were attached to the hip, the rivalry for Kairi more felt like Riku being jealous of Kairi and wanting Sora’s attention back. Then we have KH2 where Sora spent the whole damn game being all ‘Riku, Riku!’ and Riku doing his damn best to help him from the shadows, ashamed to be seen. DDD was more Riku protecting him and Sora leaning on him, even KH3 had Sora wanting to find and reach Riku, and then Riku going once again to find him by the end, so I am sorry but if there was a love story written here it was between these two. 
10. Hannigram - Hannibal Lecter x Will Graham (Hannibal): Quite honestly, from all the things I ship, they are probably what one will consider the most toxic one I guess, which fair considering one part of the ship is a charismatic yet cannibalistic serial killer. But there was something in the way this relationship was developed by Fuller and brilliantly brought out by Mads and Hughs that just hooked me, their soft moments, their violent ones, it just somehow worked for me. I guess this is also one of the few canon ships that I have, funny enough.
09. Rivetra - Levi Ackerman x Petra Ral (Shingeki no Kyojin): Who will have thought that a series about human eating titans was going to give me one of my most everlasting and also shortlived OTP’s. Years can pass by and I will still love this ship, my heart will still believe there was something more between them, something that was realized or something that wasn’t, I don’t know, but I will forever love it and even though years have passed since she died, I always enjoy the hints here and there that he still remembers her or hints where we are supposed to do so.
08. Squinoa - Squall Leonhart x Rinoa Heartilly (Final Fantasy VIII): People can say whatever the fuck they want ‘the love story was rushed’ ‘we hate Rinoa’ (fuck you btw) but it doesn’t change the fact that Squall fell in love with her and that Rinoa helped him to open up, to not take things for granted and Squall taught her to be even stronger and conquer her fears, they helped each other grow and it’s what matters in the end.
07. Feanor x Nerdanel (Tolkien): This is probably, from all the romantic relationships that Tolkien has gifted us, which I have loved the most and held my attention the longest. They have the happy times, the ones that were full of joy when they met and fell in love and had their children, then we have the tumultuous times when he became too obsessed with this craft, the separation when he left with their kids leaving her behind in her pain and then their possible reencounter when he leaves the Halls of Mandos and how they might deal with it.
06. ItaHina - Itachi Uchiha x Hinata Hyuuga (Naruto): Both the heads of two of the most important clans of their villages, both with heavy expectations upon their shoulders that nearly broke them, only one was talented from the start and the other had to learn, yet they are also similar. Both love their siblings to a fault, sacrificing so much for them and their happiness, both seem to hate conflict yet know is necessary and both are devoted and loyal to a fault, they would have suited each other wonderfully, in an AU probably they would have gotten engaged, who knows, but it would have been wonderful.
05. SessKik - Sesshoumaru x Kikyou (Inuyasha): A ship that could have been but that we didn’t have. This is a ship that has been with me for years and I don’t plan to let it go, they were the best players (in a sense) in that game against Naraku, also probably the strongest, both level headed and smart, not easily intimidated and calculating, together they would have been quite a formidable force and it’s a shame we didn’t get to see that.
04. Bethyl - Daryl Dixon x Beth Greene (The Walking Dead): Another wasted potential and gone so soon, not to mention forever salty at the waste. The way they were being developed promised so much, in the few time he was with her, well, she taught him to have faith and it’s something that apparently still shows from times to times (I am not sure as I stopped with this show) and imagine how it will have gone if they had more time. Just a waste.
03. Romanogers - Steve Rogers x Natasha Romanov (Marvel/MCU): I have been shipping them for years, like honestly, and when the MCU was showing me the seeds of potentiality I was happy, not even that stupidity with Bruce killed my hope, as they still had this steady relationship, he trusted her and she trusted him, something that she couldn’t say of many, they had each others back and took care of the other...but again another wasted potential right there.
02. Huddy - Gregory House x Lisa Cuddy (House MD): I spent years, kind of, season after season watching the delicious and lovely UST between these two characters, watching them snark and then help each other, watching the ‘won’t they will they’ dance, waiting for the moment when these two will finally collide and my lord was it glorious when they finally did, and I was eager to see where it went, as they both seemed to be in relatively good places, but no once again forbid the writers to stop House from being self-destructive and another ship I had waited years was ruined.
01. Terrence "Terry" Graham Grandchester x  Candice "Candy" White Adley (Candy Candy): And this is still my most important ship of the decade, I was forever bitter they never ended together and that their authors decided to make them suffer so much, but then Final Story came and all clues were pointing that aha they did found the other again and ended together as they were supposed to be, and before anyone says shizz, I did manage to read the novel and I do believe all hints were there to let us all know the identity of her husband was Terry and I am so happy.
And there it is, all the ships of the decade for me lol. Next stop, I should maybe make a list of mythos ships I like lmao.
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eclisseacontextforfilm · 6 years ago
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why should we be here talking, arguing? Believe me Anna, words are becoming less and less necessary; they create misunderstandings
eclisse inspirations, vol. IV Michelangelo Antonioni’s Trilogy of incommunicability  part. 1 - L’avventura, 1960
When Michelangelo Antonioni’s L’avventura arrived in 1960 – amidst a tumultuous reception in Cannes that saw some disturbed audience members wanting to throw something at the screen – cinema was already changing in fundamental ways. The makers of individual, handmade films that had been institutionally kept out on the fringes (Stan Brakhage, Shirley Clarke, Norman McLaren, to name but three) were starting to draw more viewers and critical attention. The narrative feature film underwent a revision, from inside the nouvelle vague (Godard’s Breathless) and out (Agnès Varda’s first films, Alain Resnais’s Last Year in Marienbad). Meanwhile the Italian film world had already seen the old codes of neorealism swept away – much of it Antonioni’s own doing – and had moved towards a post-neorealist cinema liberated from melodrama and political ideologies, perhaps best exemplified in 1959 by Ermanno Olmi’s first feature Time Stood Still.
A new, maturing modernity became widespread in cinema. The years 1959 to 1960 can be identified as a world-historical moment for film. In line with the development of lenses, film stocks and new and smaller cameras (including a more ubiquitous use of 16mm), the modernism that took hold showed yet again the time lag after which cinema typically comes to embrace changes that have occurred first in other artforms: for instance, the radical overhaul of jazz by bebop; the transformation of the sound world of music by such figures as Edgard Varèse and Harry Partch; the abstract-expressionist movement in painting from Pollock to Rothko; the ‘new novel’ invading literature (on which Marienbaddrew, courtesy of a script by novelist Alain Robbe-Grillet).
In this exceptional moment, some of cinema’s old props were being kicked away, including Hollywood’s genre formulae, the three-act narrative structure, the privileging of psychology, the insistence on happy and ‘closed’ endings. But what did it mean to free oneself of the securing laws and traditions of genre, its capacity for creating worlds and codes? What did it mean to reject a storytelling architecture that had served dramatists well since Aeschylus? What kind of moving-image experience with actors could exist beyond psychology – which, after all, was still on the 20th century’s new frontier of science and society? What if endings were less conclusive, or less ‘satisfying’? These are the questions Antonioni confronted and responded to with L’avventura, the film that – more than any other at that moment – redefined the landscape of the artform, and mapped a new path that still influences today’s most venturesome and radical young filmmakers.
For some that film would instead be Breathless. Godard’s accidental discovery of the jump cut (courtesy of his editor) helped him rejig a more conventional yet sly imagining of the crime movie into a piece of radical art, a way of fracturing time as important as Picasso’s and Braque’s Cubist fracturing of space and perception. It’s also arguable that Godard had the more immediate impact, especially through the 1960s, since his taste for pop-culture iconography, graphic wordplay and politics positioned him a bit closer to the centre of the period’s cultural zeitgeist than Antonioni (despite the Italian’s subsequent ability to capture swinging London and The Yardbirds in 1966’s Blowup, and Los Angeles counterculture in 1970’s Zabriskie Point). Even a movie with huge pop figures and crossover attraction like Richard Lester’s A Hard Day’s Night (1964) would have been unthinkable without the example of Godard.
Yet I’d argue that L’avventura and Antonioni’s subsequent films – perhaps most importantly L’eclisse (The Eclipse, 1962) – have exerted a greater long-term impact (his effect on the generations after the 1960s is something I’ll consider later). One of L’avventura’s many remarkable qualities to note now is its staying power – its ability to astonish anew after repeated viewings. Many great films are of their moment, yet lessen over time. Here, the entrance of Monica Vitti, with her classically hip black dress and sexily tousled blonde mane, amounts to an announcement that the 60s have arrived; a lesser work with her in it would be no more than a key identifier of that moment.
It’s the film’s subtle straddling of an older world and a new one still in the process of defining itself – reflected immediately and perfectly in composer Giovanni Fusco’s opening title theme, alternating between nostalgic Sicilian strummings and nervous, creeping percussive beats – that establishes its rich, unending landscapes of physical reality and the mind. This is part of the film’s timelessness, within an absolutely contemporary / modern setting. The early images of L’avventura trace a parting of the generations, as Anna (Lea Massari) – seemingly the film’s central character – tells her wealthy Roman father that she’s going away on a holiday to Sicily with girlfriend Claudia (Vitti), then seen very much on the periphery of the action, tagging along. But after Anna inexplicably disappears during a boat trip to an uninhabited island, it is Claudia who moves to the centre of the narrative – and into the affections of Anna’s architect boyfriend Sandro (Gabriele Ferzetti) – as attempts to find Anna gradually peter out.
What makes L’avventura the greatest of all films, however, is its assertion, exploration and expansion of the concept of the ‘open film’. This had been Antonioni’s great project ever since he started out as a filmmaker after an extremely interesting career as a critic (like Godard). His early documentaries, such as The People of the Po (Gente del Po, 1947), and his earliest narrative films, such as the astonishing Story of a Love Affair (Cronaca di un amore, 1950), suggest an artist pulling against what he perceived as the constraints of neorealism towards an openness based on a heightened perception of constant change – a dynamic that was for him the fundamental quality of the post-war world.
A NEW QUESTION
For Antonioni, the issues of neorealism were essential, in that they gave him an aesthetic base from which to launch. The People of the Po is an early neorealist work, both in its submersion in unvarnished realism and its interest in the lives of working people, but it also works against the predominant tendency in neorealism to project sympathy and sentimentality. By the time of Story of a Love Affair, teeming with characters from the upper and middle classes, his was not a class-based cinema; it offered instead a broader perspective – observant, distanced, occasionally unsympathetic. It reached into a more modern realm than neo-realism, a realm that had no name for it – and in fact still doesn’t.
Antonioni was never a leader – nor even part – of a movement. That’s partly because with each successive film he constantly redefined his approach. Roland Barthes, in his profoundly perceptive and concise 1980 speech honouring Antonioni, identified the process this way: “It is because you are an artist that your work is open to the Modern. Many people take the Modern to be a standard to be raised in battle against the old world and its compromised values; but for you the Modern is not the static term of a facile opposition; the Modern is on the contrary an active difficulty in following the changes of Time, not just at the level of grand History but at that of the little History of which each of us is individually the measure. Beginning in the aftermath of the last war, your work has thus proceeded, from moment to moment, in a movement of double vigilance, towards the contemporary world and towards yourself. Each of your films has been, at your personal level, a historical experience, that is to say the abandonment of an old problem and the formulation of a new question; this means that you have lived through and treated the history of the last 30 years with subtlety, not as the matter of an artistic reflection or an ideological mission, but as a substance whose magnetism it was your task to capture from work to work.”
L’avventura builds on the work and experiences of Antonioni’s previous decade, which saw him working through his doubts about genre (film noir in Story of a Love Affair, backstage drama in La signora senza camelie, 1953); about narrative form (the counter-intuitive three-part structure of I vinti, 1952); his love of writer Cesare Pavese (author of the source novel for 1955’s Le amiche) – as important a literary voice to Antonioni as Cesare Zavattini was to the hardcore neorealists. And add to this his growing interest in temporality, the emptied-out frame, the composition that maintains both precision and an expansive gaze that treats bodies, buildings and landscapes with equal importance.
With only a few filmmakers (Mizoguchi, Renoir, Dreyer, von Sternberg, Resnais, Olmi, Kubrick, and more recently Costa, Alonso and Apichatpong) is there such a visible, constant seeking of artistic purpose through the process of each successive film – a striving, a refinement. Antonioni’s 1950s work represents one of the most fruitful directorial decades to watch of any filmmaker. Already in some ways a master in 1950, he proceeded to question his own positions with each film, as if the doubts he had about the state of the post-war world resided, originally, in himself, and then fanned out to the making of the work itself, so that the expression of mortality (most explicitly conveyed in a Pavese adaptation such as Le amiche) inside the film was part and parcel of the director’s own tentative stance. (Tentato suicido/Tentative Suicide is the title of Antonioni’s segment in the 1953 omnibus film L’amore in città.)
These were not only cerebral matters – though the intellectual currents running underneath these films and under the neorealist movement preceding them were crucial to their fecundity – but real concerns rooted in the hard factors that faced any Italian filmmaker trying to get a project off the ground. Antonioni’s tentativeness – a constant fascination to his supporters in the French critical community, and an irritation to many of his Italian contemporaries – was partly based on the tentativeness of Italian film production itself. In almost no case during the 1950s did he encounter a smooth pre-production, firm financial backing or drama-free production periods. The typically poor performance of his films at the box office did little to enamour him to distributors and producers, though in the then nascent world of the auteur film business, it helped enormously that his films did well – even smashingly well – in Paris.
After the commercial failure of Il grido (1957) and an initially limp critical response, Antonioni seriously considered abandoning the cinema altogether, and returned to the theatre, where he had worked in the early years of his career. Even when he did come back to film, to shoot L’avventura, all of his worst concerns came back to haunt him. Already shaky producers bailed out mid-shoot as their company, Imeria, went bankrupt, leaving the crew literally high and dry on the desert island of Lisca Bianca, without sufficient food and water, in a hair-raising episode that makes Coppola’s misadventures filming Apocalypse Now in the Filipino jungle sound like a stroll on the beach.
SURPASSING MYSTERIES
This context, in all its intellectual and practical dimensions, is crucial to comprehending the massive achievement that L’avventura represents. How a film of such constant perfection could even be made under such dreadful conditions is, for me, one of the surpassing mysteries of film history. Viewed in isolation (and aren’t almost all films, even more now in our isolated viewing environments?), L’avventura can superficially be seen as magnificently beautiful in its constant chain of stunning black-and-white images from cinematographer Aldo Scavarda (with whom Antonioni had never previously worked, and never would again).
L’avventura is populated by good-looking actors oozing sex appeal. Monica Vitti, for one, had never had a starring film role before, but with her smouldering presence it was she – as much as Sophia Loren or Ingmar Bergman’s ensemble of intelligent and worldly actresses – who set the standard and the look for the new, sexualised European movie star that was key to the successful foreign-film invasion that hit English-language shores (and was perceived as such a threat by LBJ and his White House crony Jack Valenti that they set up the American Film Institute as a nationalist bulwark against the foreigners supposedly taking over US cinemas). For New York downtown hipsters, London cosmopolitans and Paris cinephiles alike, the combination of serious cinema and sexual beauty was simply too much to pass up.
All that may be why L’avventura had its immediate impact. (A special jury prize from Cannes, after all that booing and hissing, also didn’t hurt.) But the endurance of the film, residing crucially in its conceptual openness, describes a pathway that cinema has been exploring and testing ever since. Much as Flaubert’s novels and Beethoven’s symphonies, concertos and string quartets are continually regenerated by way of the new directions they paved, and the new generations of work following such directions, so Antonioni’s work – and L’avventura in particular – is regenerated by the subsequent cinema that came in its wake.
As Geoffrey Nowell-Smith observes in his essential study of the film, the periphery in Antonioni is of absolute importance, for this is where the sense of drift in his mise-en-scène and narratives resides – a de-centred centrality. No filmmaker before Antonioni, not even the most radical visionaries like Vigo, had established this before as a part of their aesthetic project. In the early scenes when Anna visits Sandro, or when they join their holiday boating group, Vitti’s Claudia remains for a long time on the outside looking in, marginalised, seemingly unimportant. And yet there is something in her nervous gaze, her subtle physical gestures, that makes her impossible not to notice, especially in contrast to Anna’s inner tension and outward unhappiness – an unhappiness she can’t identify, even in private to Claudia.
These are most certainly not Bergman women, forever examining themselves, forever able to articulate the exact words in whole spoken paragraphs about their state of mind, their relationship with God. For one thing, in Antonioni, God doesn’t exist. The state of the world is one of humans searching for some kind of connection amidst a disinterested nature; the island on which the floating party lands is both exotically remote and barren, like a volcano frozen during eruption. The landscapes in L’avventura have been interpreted in a number of different ways that testify to the film’s Joycean levels of readings: from Seymour Chatman’s insistence on metonyms for his reading of what he calls Antonioni’s “surface of the world”, to Gilberto Perez’s more valuable view of the work in his extraordinary film study The Material Ghost, across a whole range of possible interpretations, from the literary to the visual. For me, however, it’s always tempting to see these people – on this island, at that moment – as the last humans on earth.
In L’avventura, more than any film before it had ever dared, the centre will not hold. The open film is a fluid thing, pulsating, forever changing, shifting from one centre to another, not quite beginning and not quite ending (or at least beginning something new in its ‘ending’). Anna, the centre, vanishes, with no visual or verbal clues to trace her by, except rumours of sightings. She was in effect the glue that held the party together, having helped bring Claudia in closer to her circle of friends – and to Sandro. But with Anna’s disappearance, the film alters shape in front of us; a sudden absence actually expands the film’s eye. Individual shots become more extended and prolonged, the sky and land grow larger, the elements become more tangible (clouds, rain, harsher sun).
HERE AND NOW
What’s even more disturbing is that nothing happens – no discovery, no evidence, no detective work and, finally, no memory. L’avventura is, in part, the story of how a woman is forgotten, to the extent that long before the film is done, Anna is less than a trace on a page, a ghost or a photo in an album. A more sentimental filmmaker or a Hollywood studio would have ensured that Anna lived on through Claudia and Sandro’s love affair and possible union. But here, after a while, they don’t speak of Anna anymore. She gradually fades, which is what happens to the dead as regarded by the living (not that Anna is necessarily dead; the film neither encourages nor discourages the suggestion). Although their joint actions ostensibly trace an effort to collect any information on Anna’s whereabouts, Antonioni suggests that the activity of Claudia and Sandro isn’t nearly as important as their time together in this moment, in this or that place.
About those places. The greatness of L’avventura is multivalent, situated in many realms at once: cinematic, aural, existential, literary, architectural, sexual, philosophical – all of them of equal importance. The open film, beyond its fluidity, is amoral in the best sense, or at least unconcerned with a hierarchy of values. Almost all films of any kind privilege certain artistic values above others, and the great ones do it for several: Singin’ in the Rainhonours the body, the sounds of showbiz, the fresh memories of Hollywood at its height; Vampyr celebrates the psychological effect that optical dislocations have on the viewer’s psyche, the spiritual possibilities of the horror film, the blurry line between genres and those alive and dead.
But L’avventura marks a new kind of film, not made before, in which the story that launched the film dissolves and gives way to something else – a journey? a wandering? – that points to a host of possible readings beyond what mere narrative allows, and yet at the same time is too specifically rooted in a form of acting – in situations, episodes and events – to ever become purely abstract. (Though this was an area Antonioni did address in various ways, including the semi-apocalyptic ending of L’eclisse, the visualisations of madness in 1964’s Red Desert and the slow-motion explosion near the end of Zabriskie Point.)
For Geoffrey Nowell-Smith, “L’avventura is a film about consciousness and its objects, the consciousness that people have of other people and of the environment that surrounds them.” It is a film that’s also about a change of consciousness – what that looks and feels like: for instance Claudia’s move from the edges to the centre and, in the final passages, back to the edges. This change of consciousness is realised in terms that encompass Antonioni’s grasp of a vast range of materials: Sandro’s relationship with architecture is framed with the couple’s bodies, both above buildings and nearly swallowed up by them, their shared sexuality first shared in open space and then further and further contained within smaller rooms; the sense of new possibilities (new towns, new relationships) seen in the curve of a highway, a train hurtling down the tracks and through tunnels; the insistence on the Old World in the hulking presence of churches, formal dinner parties, rigid bodies against Claudia’s free and easy one, always in motion; the sounds of creaky nostalgic ‘Italian’ music against Fusco’s disturbing atonalities and unnerving syncopations (in one of the greatest film scores ever written).
Antonioni, as Perez often notes, infuses his cinema with doubt – a doubt that extends to his questioning of psychology as a basis for cinematic drama (let alone his doubt in the value of cinematic drama). But doubt is not an end point in this or his other films; instead it represents the beginning of new possibilities. Thus the open film’s mapping of changes of consciousness – through the tools of mise-en-scène, temporality, elliptical editing, a matching of sound to image combined with a de-emphasis on actors’ faces presiding over scenes (close-ups are fewer by far in L’avventura than any of his previous films) – is a picture of a post-psychological topography of the human condition, a radical effort to find a cinema grammar to express inner thought with photographic means.
This is a map that did (as Perez has noted) go out of style for a time, perhaps during the period of postmodernism, and definitely during the period when Fassbinder ruled the arthouse. But the map has been opened again by a new generation. Its influence can now be seen in films from every continent – to such an extent that the Antonioni open film can be said to be in its golden age. Here are some examples: the work of Apichatpong Weerasethakul, from Blissfully Yours to Uncle Boonmee Who Can Recall His Past Lives; Lisandro Alonso’s La libertad through to Liverpool; Uruphong Raksasad’s Agrarian Utopia; C.W. Winter and Anders Edström’s The Anchorage; Ulrich Köhler’s Sleeping Sickness; the entire so-called Berlin School, of which Köhler is a part; Albert Serra’s Honour of the Knights and Birdsong; James Benning; Kelly Reichardt; Kore-eda Hirokazu; Ho Yuhang’s Rain Dogs; Jia Zhangke’s Platform and Still Life; Li Hongqi’s Winter Vacation. The list goes on…
Some of these filmmakers may disavow any Antonioni influence – but we know that what directors (including Antonioni) say about their films can’t always be trusted. Besides, the ways in which L’avventura works on the viewer’s consciousness are furtive and often below a conscious level. In Apichatpong’s fascination with characters being transformed by the landscape around them; in Raksasad’s interest in dissolving the borders between ‘documentary’ and ‘fiction’, or the recorded and the staged; in Alonso’s precision and absolute commitment to purely cinematic resources and disgust with the sentimental; in Köhler’s continual refinement of his visualisation of his characters’ uncertain existences; in Reichardt’s concern for what happens to human beings in nature – especially when they get lost: in all these and more, the open film is stretched, remoulded, reconsidered, questioned, embraced. A kind of film that was first named L’avventura.
[by Robert Koehler, from BFI. November 2016]
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drivevinty · 5 years ago
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5 Classic Picture Cars from Hollywood Movies
How Our Picture Car Rentals Can Enhance Your Photo-shoot
What would be more awe-inspiring or attention-grabbing than featuring an automobile in your wedding photos that was used in a Hollywood blockbuster? Can you just imagine shooting your music video or film project with the added authenticity of a legendary car from a particular era in the background? If you have been looking for that special something to make your photoshoot project – regardless of subject matter – truly unique, Vinty’s picture car rentals service will provide the edge you need.
Organizing a music video or cinematic film shoot is daunting enough of a proposition, so we understand that you want to make your picture car rental experience as easy as possible. Our formidable background in these matters – and we’ve worked with such giants as NBC, Netflix, Sony, Columbia, Paramount and Warner Brothers – will leave you assured that your vehicles are perfectly maintained and will look drop-dead-gorgeous in your photos.
But what if you’ve been stuck in a position of uncertainty? Perhaps you have a general idea for a photo shoot and know for sure that you want to feature a certain kind of ride, but you’re also wondering about some of the more famous “movie cars” and their roles in certain films. Indeed, at Vinty, we love cinema about as much as we love automobiles, and we’re just as smitten with fascination as the next guy when we re-watch Vin Diesel and Paul Walker race their Charger and Supra, respectively, at the end of The Fast and the Furious.
With that in mind, we thought it would be interesting to put together a “Five Classic Pictures Cars from Hollywood Films” list to give you an idea of which rides were some of the most iconic up on the silver screen. Perhaps these will provide you some inspiration for your next project, or maybe they will simply fulfill some hidden curiosity you’ve harbored if you’re a car enthusiast; either way, we hope you find the following information as fascinating as we did.
1. Dodge Charger from the Fast and the Furious
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You know we couldn’t kick off this list without making an honorable mention of the car racing favorite hinted at above. Directed by Rob Cohen and based on a documentary-esque story concerning the fiercely popular Los Angeles import vehicle street racing scene at the time dubbed “Racer X,” The Fast and Furious would be the unlikely juggernaut for a Universal-sanctioned franchise ready to announce its ninth entry. While the series has gone from focusing on wildly hued and accessorized street race cars and scantily-clad young women who cheer these racers on to plots concerning international espionage, it’s still the original film released in 2001 that most fans adore the most – and which gets most car buffs’ engines racing.
The mean black Dodge Charger that Vin Diesel’s “Dom” character drives towards the end of the film was a 1970 model designed by Cinema Vehicles and remains an icon in more modern-esque cinema.
2. DeLorean from Back to the Future
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Remember Michael J. Fox as Marty McFly? For those of us old enough to recall this sci-fi classic, Marty and Doc Brown (Christopher Lloyd) travel through time in the sexy-yet-futuristic DeLorean, a vehicle like no other. To the uninitiated back in the era this film was released, the DeLorean came off as something designed for Back to the Future – not a production vehicle that could actually be purchased at a dealership.
3. XB GT Ford Falcon from Mad Max
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One of the most beloved sci-fi barnstormers of all time, 1979’s Mad Max was set in a bleak desert landscape devoid of natural resources – but to the rescue was Mel Gibson’s homonymous hero character and his 1973 XB GT Ford Falcon, designed by the team responsible for its creation to be radical and outlaw-ish.
4. 1968 Mustang from Bullitt
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Before The Fast and the Furious or even Michael Bay’s The Rock – which featured a hair-raising car chase sequence between two main characters through the streets of San Francisco – there was Bullitt and the rip-roaring 1968 Mustang that defined that film’s thrilling San Fran-based chases. The car was chosen because it best suited the film’s protagonist, Frank Bullitt; indeed, it was realistic because it was a car a cop could afford but also one that had some bite and attitude.
5. Cadillac Miller-Meteor Hearse from Ghostbusters
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Dispensing with all the “Slimer” references and jokes, the 1980s smash hit Ghostbusters remains etched in fans’ minds mainly because of the 1959 Cadillac Miller-Meteor hearse driven by the titular heroes of the film. A cool yet classic vehicle which has taken its place in cinematic history, the hearse was originally purchased in poor condition and demanded a host of upgrades from the production team, namely a reworked suspension, modified brakes, modified gurney in back to fit the proton packs of the Ghostbusters and a plethora of external alterations.
 If these five favorites don’t quite hit your ignition button, Popular Mechanics has put together its Top 40 Movie Cars of All Time list, one which encompasses everything from the aforementioned DeLorean to the Trans Am from Smokey and the Bandit.
Reach out to Vinty today if you’re in need of something genuinely different for your next big photoshoot project.
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hookfrance6-blog · 6 years ago
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Red, White + Hot Pink All Over: It’s a Retro I Love Lucy-Inspired Valentine’s Day Wedding!
Any I Love Lucy fans out there?! We thought it was about time that we saw the lovable antics of Lucy + Ricky Ricardo translated into the colorful wedding world…don’t you agree? When visiting The Harper, a new venue in Costa Mesa, Holly at Anything But Gray Events kept thinking how perfect the muted-tone backdrop of the venue would look with a splash of color. She shares: I love the juxtaposition between the black, white and grey venue and the technicolor styled shoot. To me, it was reminiscent of when I Love Lucy went from black and white film to technicolor!
While we wanted to keep true to the images you see on the show, we wanted to update the look with modern and trendy touches for today’s current audience.
Alright, sweethearts! Let’s see how they brought the 1950s into the present in the photos Peterson Design & Photography snapped. Shall we?
The Details
It was all about creating a contemporary meets retro look for this invitation suite from Roseville Designs.
Pink, on pink, on pink!! The best way to do this? By adding tons of different textures, of course!
How brilliant is this bouquet Winston & Main crafted? Ranunculus + anemones are some of our faves!
The Sweethearts
Too stinkin’ CUTE!!
This custom pink number, created by Rmine, was specially made for this shoot to resemble some of the “modern women” pant ensembles that Lucille Ball wore over the years. It is not a dress but actually two pieces: a chiffon top with an oversized belt and palazzo lace pants.
Come Away With Me… The Skyline Backdrop!
Holy smokes!! Paper Moon Shoppe is the genius artist behind this masterpiece. The backdrop was designed to resemble the fire escape on the back of Lucy and Ricky’s apartment that you would often find them standing on. This 3-dimensional, 15+ foot design was covered in hand-painted details.
Isn’t this such a fun idea?!
Talk about DREAMY.
The Retro Tablescape
We love a good balloon arch, and Balloonzilla didn’t disappoint! Want to see other ways you can incorporate balloons into your big day…or perhaps DIY your own floral balloon arch? We’ve got just the thing(s)!
Poppin’ PINKS and heart-shaped napkins (because why not?), the team created this fun look with pieces from Signature Party Rentals, Collective Rentals, and BBJ Rentals.
Cocktails + Cake
Tying in the city skyline + the heart-shaped balloons, Nicole Bakes Cakes crafted this confectionary delight.
A Truly Vintage Affair
We know what you’re thinking…how did they manage to nab that retro pink TV?! It’s from Party Pieces by Perry and we think it’s the cutest thing ever.
Fun Fact: Holly’s grandfather, Hans Conried, played many recurring characters on I Love Lucy and was a dear friend of the real Lucille Ball and Desi Arnaz!
Cate Ruby Torrealba got ‘Lucy’ looking picture perfect for the camera. Hello, bold brows + coral lips!!
And they brought in a vintage car from Vinty! Isn’t this ride adorable?
A vintage car, the sweetest sweethearts, floral garland, and tons of balloons—what more could you want?
How darling was that?!
We’ll leave you with these wise words from Lucille Ball, herself: “Love yourself first and everything else falls into line. You really have to love yourself to get anything done in this world.”
Happy Valentine’s Day to all you sweethearts out there!
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photography: Peterson Design & Photography // venue name: The Harper, Costa Mesa, California, USA // event design: Anything But Gray Events // planning: Anything But Gray Events // florals: Winston & Main // wedding dress: RMINE // wedding dress boutique: RMINE // bride's shoes: Betsey Johnson // bride's ring: Brilliant Earth // hair stylist: Cate Ruby Torrealba // makeup artist: Cate Ruby Torrealba // groom attire: Friar Tux // groom's shoes: Friar Tux // paper goods: Roseville Designs // cake: Nicole Bakes Cakes // tabletop rentals: Signature Party Rentals // furniture rentals: Collective Rentals // linen rentals: BBJ Rentals // models: Christine Geasey and Will Rubio // balloons: Balloonzilla // skyline backdrop: Paper Moon Shoppe // pink tv: Party Pieces by Perry // vintage car: Vinty
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Source: https://greenweddingshoes.com/retro-i-love-lucy-inspired-valentines-day-wedding/
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infotainmentplus-blog · 6 years ago
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10 best icon packs for Android (by developer) Icon packs are on of the most popular methods of customization. Most mainstream third party launchers support them and they provide a cheap and unique way to customize your device. Plus, there are literally hundreds upon hundreds to choose from. When we first thought about doing this list, we thought about doing individual icon packs. Unfortunately (or perhaps, fortunately), there simply too many good ones out there. We decided instead to list developers of icon packs rather than individual icon packs. This isn’t like most app genres where you get ten or 15 good ones and then the quality dips significantly, there are good icon packs all over the place. Thus, we encourage readers to drop their favorite icon packs in the comments and keep the list going. Here are the best icon packs for Android! There are some good one-offs as well, including Spendid and Delta. More theming goodness! 10 best sources for HD Android wallpapers and QHD Android wallpapers Finding the best Android wallpapers and backgrounds for your device can be difficult. There are a ton of apps that have wallpapers, but it's difficult to find truly high quality stuff there. A few apps … 10 best Android themes Android themes are changing. They have been over the last couple of years. Back in the day, the rage was all-encompassing theming. One theme would change how home screens, settings menus, keyboards, etc looked. These … Benas Dzimidas Price: Free / Varies (usually up to $2.99 DOWNLOAD ON GOOGLE PLAY Benas Dzimidas has a variety of good icon packs. Some of the more popular ones include Rondo, Voxel, Lai, Elta, and Lux. There are many others to choose from as well. Benas Dzimidas icon packs typically feature very clean and colorful designs with flat graphics and various icon shapes. Lux works outstanding with dark themes (great for OLED devices) while ones like Rondo work well to replace the stock Material Design style icons on something like a Pixel phone. Most of the icon packs are either free or require a small charge. We didn't see anything that costs more than $2.99. DOWNLOAD ON GOOGLE PLAY GSeth Price: Usually $0.99-$1.99 DOWNLOAD ON GOOGLE PLAY GSeth is a popular developer on Google Play with dozens of icon packs. The designs are all over the place, but in a good way. There are unique packs like Ruggon and Diddly that break from the flat, Material Design, colorful norm. There are also some that fit that description while incorporating other elements as well. Viby is a favorite of ours for OLED screens while Vinty has a fun, retro look. It's hard to nail down a particular style, but all of GSeth's packs are good and also include some wallpaper options. They're also fairly inexpensive. DOWNLOAD ON GOOGLE PLAY Göktuğ ULAŞ Price: Free / Usually around $0.99 DOWNLOAD ON GOOGLE PLAY Göktuğ ULAŞ is another developer with a bunch of icon packs. Most of Göktuğ's work sticks to the established norm (flat style, round icons) with various bits of flair or additions to achieve a different sort of look. That includes the Graby, Mellow Dark, Rugos (our favorite), Olmo and Yomira. The most interesting looking one of the bunch is Flax. It features rectangular shapes that you don't see very often. All of the packs feature thousands of icons, Muzei support, and more. They're also fairly cheap. DOWNLOAD ON GOOGLE PLAY Indigo Madina Price: Free / Usually up to $1.99 DOWNLOAD ON GOOGLE PLAY Indigo Madina has a few really decent icon packs. There isn't much of a similarity between them and there are about half a dozen to choose from. Tabloid, Jono, and Furatto are very good packs for fans of square or rectangular icons. Spheroid isn't over unique, but it's a rock solid flat-style icon pack with round icons. Tigad is the most unique of the bunch with a decidedly retro style to it. None of the packs cost more than $1.99 and that's cheap to us considering how many icons each pack has. DOWNLOAD ON GOOGLE PLAY JustNewDesigns Price: Usually $0.99-$1.99 DOWNLOAD ON GOOGLE PLAY JustNewDesigns has more than half a dozen icon packs to choose from. They don't stray too far from the norm. Most of them are square, squircle, or circle icons with bright colors, flat designs, and consistent theming. We definitely recommend Simplicon, Minimalist, and Minimal O for those types of icons from this developer. Recticons is good for those who like the longer rectangle icon design. Bolt has a good collection of decent circle icons as well. None of the packs cost more than $1.99. DOWNLOAD ON GOOGLE PLAY We got more stuff! 10 best live wallpaper apps for Android Live wallpapers aren't quite the draw that they used to be. Once fancied as "one of the features Apple products don't have", it's since fallen into obscurity a bit. That isn't to say that live … 10 best backgrounds and wallpaper apps for Android Finding great wallpapers and backgrounds for your Android device isn't all that difficult. There are a ton of apps out there that can do the task. On top of that, a simple Google image search … Kovdev Price: Up to $1.99 usually DOWNLOAD ON GOOGLE PLAY Kovdev is one of the most popular developers for icon packs. These are truly some of the best icons you can find. Nox, Audax, Illus, Omne, Merus, Tersus, and Lumos feature extremely clean, colorful designs that should work for most themes. We recommend Dekk for darker themes and Domo has a unique two-tone style to it. There are over a dozen packs to choose from and, frankly, they're all really good. They all cost $1.99 as well. DOWNLOAD ON GOOGLE PLAY Nate Wren Design Price: Free / Usually around $1.99 each DOWNLOAD ON GOOGLE PLAY Nate Wren Design is all over the place with their icon pack designs, but in a good way. There isn't an established pattern to the designs. PipTec features small, Matrix green style icons while Glass has a semi-transparent style to it. Flight is a good pack for minimalists as is Lines. Rad Pack is a ridiculous 80's design that you'll either love or hate. We also like Murdered Out for dark themes and The Grid for Tron-inspired themes. Seriously, there's a lot of off-the-wall stuff here and it's all good stuff. DOWNLOAD ON GOOGLE PLAY Randle Price: Free / Varies DOWNLOAD ON GOOGLE PLAY Randle is a newer icon pack developer with a few decent icon packs. They include Zwart, Whicons, and Golden Icons. Zwart is one of the cleanest all-black icons that we've seen. Whicons is the same way except they are white. These are excellent for minimal themes with simple icon needs. Golden Icons takes the same style and applies gold to it. Some have lamented the particular shade of gold, but most seem to like it just fine. The apps are free with in-app purchases that range from $2.00 to $10.00. DOWNLOAD ON GOOGLE PLAY Sikebo Price: Usually around $1.99 DOWNLOAD ON GOOGLE PLAY Sikebo is a very competent icon pack developer with about a dozen icon packs to choose from. They range in style, but they all do a good job of feeling distinctly modern and retro at the same time. We especially like Retrorika's and Anitmo's retro color palette and flat design. Let It Be has a colorful and modern simplicity about it. Immaterial is excellent for darker themes while iJuk's pencil-drawn style is probably the most unique of the bunch. Simpax has a nice, muted color palette if you're into that as well. The icon packs generally go for about $1.99 each. DOWNLOAD ON GOOGLE PLAY Vertumus Price: Usually around $0.99 each DOWNLOAD ON GOOGLE PLAY Vertumus has dozens of icon packs for sale and they're all pretty decent. Vertumus seems to jump from style to style, but has a focus on darker icons that look great for dark themes. We really like Neon Glow, Omoro, HD Dark, Durgon, and Umbra for darker themes. Elun is an excellent flat, modern, and colorful icon pack while Urmun and Velur put a little zest into the modern style. Cryten and Potem are excellent for lighter themes as well. Most of the icon packs cost around $0.99. DOWNLOAD ON GOOGLE PLAY Thank you for reading! 15 best Android launcher apps of 2018! Android launcher apps have long been an integral part of the Android experience. If you don't like the way your home screens look or act, you can simply download an app to change all of … 10 best Android Wear 2.0 and Android Wear watch faces One of the best parts of Android Wear is the ability to customize your watch face. It's a small thing, but making it look how you want it to look adds a uniqueness that can … If we missed any great icon packs for Android, tell us about them in the comments! You can also click here to check out our latest Android app and game lists! , via Android Authority http://bit.ly/2kA386D
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drivevinty · 6 years ago
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The Top 10 Most Famous Vintage Movie Cars of All Time
The Antique Automobile Club of America states that automobiles must be older than 25 years old to be considered a classic by definition. Some others define an antique or vintage car is over 30 years old. However, everybody can agree that they're old and beautiful.
Although vintage cars have a long cinematic history, here are the absolute 10 best movie cars of all time.
Choosing the 10 Best Movie Cars
How do you begin to select just 10 cars from the many cars that have featured in the movies? The choice is determined partly by the car and partly by the movie. They both must be classics of their type.
The Ford Econoline is unlikely to be high on any collectors list but for many people, Dumb and Dumber is their favorite comedy movie. The Econoline, dressed up as the "Mutts Cutts" dog doesn't make it to this list.
There's no Dodge Charger on this list despite featuring in The Fast and Furious and The Dukes of Hazzard. Neither movie made it to this reviewers cut. Perhaps they make it to your list.
So here goes with the top 10 vintage, iconic movie cars.
10. Volkswagen Beetle
When Herbie, the VW Beetle, hit the screens, Disney had created a personality that perfectly fitted this car. Herbie was cheeky, independent and full of character.
The Volkswagen Beetle model used was the 1963 117 deluxe sedan with a sunroof. There were, of course, several cars used. The Herbie, known as #10, currently lives at the museum of the Antique Automobile Club of America.
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9. Alfa Romeo 1600 Duetto Spider
We have to have an Italian styled car in this list of classic movie cars. The home of Ferrari, Maserati, and Lamborghini must have a contender. It falls to Alfa Romeo to represent Italy.
The Alfa Romeo 1600 Duetto Spider featured in The Graduate is not a flashy car. It perfectly matches the stylish Simon and Garfunkel soundtrack. The gawky Benjamin Braddock, played by a young Dustin Hoffman, finds himself pursued by an older woman in the confines of the little red sports car.
8. Ford Thunderbird
The 1966 T-Bird lent itself to movie stardom. Not only was it a beautiful car but it showed off its co-stars well. Nobody likes working with an actor who hogs the limelight.
Thelma and Louise could escape their former miserable lives and embark on a road movie in full view. The open top car showed off Susan Sarandon and Geena Davis magnificently.
The classic road movie, so often a macho experience, was given a feminist twist. Independent women everywhere found it liberating and ultimately depressing, at the same time. The final conclusion was sad for both the lead characters and the car.
7. AMC Pacer
The AMC Pacer is a strange car to feature as a movie classic but it's up there because of one great scene. The Wayne's World scene when Wayne, Garth and their friends recreate the Bohemian Rhapsody music video is achingly funny.
The four guys lip-sync the Queen hit. Sitting in the Pacer, their four heads perfectly imitate the four members of Queen. It's not an amazing car but it's strange and quirky enough to be perfect for the movie and for the Bohemian Rhapsody spoof.
6. Plymouth Fury
Stephen King writes a mean horror story. His story of a spooky car was a huge hit featuring a 1958 Plymouth Fury called Christine.
Christine had the ability to regenerate herself despite some serious looking damage. The movie effects were achieved with multiple cars, plastic panels and reversing the film. Clever stuff for a 1983 movie, pre-computer trickery.
5. Dodge Monaco
Who would have thought a 1974 Dodge Monaco could achieve iconic status? A fading police paint job and a soul music soundtrack transformed this car into a movie star. The "Bluesmobile" transported the Blues Brothers from gig to gig.
Jake and Elwood, played by Dan Aykroyd and John Belushi, jumped, chased, slid and sped along in their classic car. Their charm and music conferred a special status on the humble ex-police car.
4. Mustang GT 390
In 1968, Steve McQueen was the epitome of cool. When he partnered with the latest Mustang GT 390 in the movie Bullitt, the thermometer dropped to well below zero.
The chase sequence is a classic in movie history. San Francisco provides an exciting location for the Mustang to pursue a Dodge Charger. Together, they take the hills by storm and confirmed the Mustang as a classic muscle car.
3. DeLorean DMC-12
DeLorean was a motor manufacturer that successfully created a classic car and then failed as a business. The DeLorean company set up manufacturing operations in Northern Ireland in the 1980s and created such a futuristic looking car that almost nobody bought it at the time.
That futuristic design was perfect for Back to the Future. The comedy and fantasy made a successful movie mix. The car had added features in the movie that would have been hard to replicate in the production car, notably time travel.
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2. Pontiac Trans Am
When Hal Needham, was looking for a car to star in his movie, Smokey and the Bandit he chose a 1977 Pontiac Trans Am. As director, he must have been conscious that the car would be just as much a character in the movie as his stars Burt Reynolds and Sally Field. He chose well because the reaction to the car by moviegoers proved powerful.
The paint job, T-Top, and performance is memorable. The fact that fans could actually buy a version of the car at the time made it all the more appealing. Whether they all used their Pontiacs to evade arrest and slide around corners at speed is doubtful.
1. Aston Martin DB5
Goldfinger featured the most iconic of the many Bond classic cars. The 1964 Aston Martin DB5 needn't have featured any gadgets to have been worthy of its status. The cool curves and engineering excellence were sufficient.
Even so, the machine guns, oil-slick spray, and ejector seat are excellent features any modern car would benefit from. One feature the Bond version of the DB5 had that is now in almost every new car is the navigation system.
The special nature of this car was underlined in 2010 when it sold for $4.6 million. Not a bad return on the $12,000 the seller bought the car for in 1969.
Your Top Movie Cars
We challenge you to make your own Top-10 Movie Car list and then check out cars.drivevinty.com to see how many cars from the list are available to rent through Vinty.
With over 1,600 cars available in the US we can guarantee that most, if not all, of your Top-10 cars will be available for rent on Vinty!
Live the dream and rent a classic car.
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drivevinty · 6 years ago
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A Party for the Ages: Here are Some Quick Tips to Help Kick Off Your Vintage Party
Just how old is old? 
According to Wikipedia, there are three stages of age. Something is "antique" if it was made before 1920. It is considered "vintage "if it was made between 1920 and 20 years ago. Those things made in the last twenty years are, well, just plain old. 
When does everything old become new again?
When you decide to throw the most fabulous vintage party of this, or any other, decade. 
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Why Throw a Vintage Party?
If you've ever been tasked with planning an event, whether it's an intimate birthday dinner or the corporation's annual meeting cocktail party, what you do first will determine whether the party is a success or not. That first thing you have to do is decide what you want your guests to remember about the event.
The last thing you want is for the event to be bland and easily forgotten. You can spend months choosing great centerpieces and the perfect mix of appetizers, but the individual elements of the party are not things that people remember. 
What you should do first is choose a theme for the party. As the event planner, once you have that settled, everything else falls into place.
The same is true for your guests. When they learn what the theme for the evening is going to be, they already have a hint of what to expect and they can plan their participation accordingly. 
Deciding to throw a vintage party opens the doors to your own creativity. If you're afraid that "it's been done to death," allow us to prove you wrong. 
Dig Into the Decades
First, let's look at some of the different ways you can refine your party theme. When you consider vintage, you actually have eight decades to choose from.
So why not literally consider one of those decades as your theme?
For a party set in the 1920s, here are just a few of the angles you can take:
A roaring 20s dance theme
Gangster speakeasy style
Art deco inspired
Silent films vs. talkies
If you want something a little more recent, here are some of the places that could inspire a 1950s party:
A school sock hop
A drag strip "greaser" party
A roller rink
A drive-in diner or movie
You could sit down and come up with four or five ideas for anyone of our vintage decades. In the process, one of them is bound to stand out as being an appropriate match for the type of event you'll be hosting. 
What do we mean by an appropriate match? There have been successful bar mitzvah parties featuring lots of fedoras and boas. However, the theme might be more appropriate for an overage party where Tommy Gun shaped gin bottles could be a bartender's weapon of choice. 
Expressing the Theme
Which brings us to the heart of your vintage party planning process. There are five different places in you'll want to develop your theme. 
1. Food and Drink
Here again, you need to choose things that are both appropriate to the theme and to the occasion. Throwing a 1940's style garden party? Don't forget the crustless finger sandwiches but do save the popular veal scallopini dinner dish for another time. 
2. Decorations
There are so many possibilities, you're the biggest problem may be knowing where to begin. You can rent a classic Chevy to be parked outside and decorate your tables with jukebox centerpieces to evoke that 1950s diner feel, for example. 
3. Music
Nothing is as likely to get your guests in the mood as the music. Whether your budget calls for a big-name act or a versatile DJ, there's a playlist to match every mood. Make sure you provide a good mix of background and dance-worthy tunes to keep the party moving.
4. Dress
Not every party should be a dress-up party. You can invite your guests to rock their favorite poodle skirts at your sock hop. Or, you can provide them with groovy shades and peace symbol necklaces for your 1960s lovefest. 
5. Photos 
Can you say selfie? You'll want to provide plenty of opportunities for your guests to commemorate your event. You'll know your party was a hit when you see all the pics of that tabletop jukebox on your favorite social media network.
Pulling It All Together
So just what would all this look like in one party? Here's an example of a 1960s style cocktail party to help you visualize the final event. 
Before your guests even step inside, help them begin to feel the "Don Draper" vibe. If you're in the LA or New York City area, do something totally unexpected. Wow your guests when you rent a 1960 Cadillac or another vintage vehicle from Vinty.
You can set this up as an official photo opportunity by having a professional photographer on hand there. Or you could leave a pipe and some cat-eye sunglasses for people to use as props when they take their first selfies around that car. 
Even if you weren't a fan of Don Draper or the hit show "Mad Men" you probably already know you'll need to serve martinis. You might also want to consider daiquiris or a sweeter punch as drink options as well.
Finger food is the order of the day. In this case, though, pigs in a blanket can be served alongside Oysters Rockefeller or molded steak tartare. There should be room on the table for small Swedish Meatballs and plenty of colorful toothpicks to skewer them. 
If elegance is what you're aiming for, small prism lights on stand-up tables draped in white linen will do the trick. Elegant small plates and forks along with the martini glasses used can also be considered decorations as they help to set the mood. 
Finally, a little bit of low piano-bar music in the background will help keep conversations humming.
Want to know if your party was a success? Just search your favorite social media site for all the selfies that were snapped with your rented classic car. 
Enjoy Your Vintage Party
No matter what decade you choose, or what sub-theme you select, you may still be worried that it's "been done before," but that's the wrong way to look at it. 
Yes, these parties have been done before. That's one of the reasons they are growing in popularity. These parties were successful then and yours can be successful now. 
All you need to do is add one element into your vintage party that hasn't been seen before. It's an affordable and unique idea that beats a cardboard cutout decoration every time. 
For the parties we've touched on above we mentioned two ways that you can rent a classic car to help set the stage for your event. Check our for more information on how to bring your era back to life with a classic car rental.
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