#jacques frantz

[mariocki]

Poulet au vinaigre (Cop Au Vin, 1985)

"I'm paid a modest sum to nose around, spy and pester people. And to find the truth."

[lovachromakiva]

Guyodo - Untitled

[dipnotski]

Tuğçe Kelleci – (Post)kolonyalizm (2023)

Postkolonyalizm, Türkiye’de akademik, entelektüel ve politik çevrelerde gecikerek de olsa etkili bir düşünce akımı oldu. Ancak içerdiği eleştirelliğe rağmen o da araçsal aklın hizmetine girmekten kurtulamadı. Bu çalışma çok önemli bir istisna oluşturuyor: Eleştirel düşünceyi postkolonyalizmin kendisine yönelterek sorgulanmadan alınıp tekrar edilen veya uyarlanan önkabulleri titiz bir teorik…

[marcogiovenale]

oggi, 1 aprile, roma: "corpo ricorda", l'art brut nella collezione giacosa-ferraiuolo

OGGI 1 aprile 2023, dalle ore 17 alle 22 via Francesco Negri 65 – Roma  SIC 12 artstudio presenta  CORPO RICORDA L’Art Brut nella collezione Giacosa-Ferraiuolo a cura di Gustavo Giacosa 02.04.23 > 03.12.23 Sarah Albert Noviadi Angksapura Guido Boni Frédéric Bruly-Bouabré Francesco Borrello Nicole Claude Michel Dave Gabriel Evrard Giampaolo Coresi Saverio Fontana Maurizio Fontanelli Davood…

[txttletale]

niceys positive anon!! i don't agree with you on everything but you are so clearly like well read and well rounded that you've helped me think through a lot of my own inconsistencies and hypocrises in my own political and social thought, even if i do have slightly different conclusions at times then u (mainly because i believe there's more of a place for idealism and 'mind politics' than u do). anyway this is a preamble to ask if you have recommended reading in the past and if not if you had any recommended reading? there's some obvious like Read Marx but beyond that im always a little lost wading through theory and given you seem well read and i always admire your takes, i wondered about your recs

it's been a while since i've done a big reading list post so--bearing in mind that my specific areas of 'expertise' (i say that in huge quotation marks obvsies i'm just a girlblogger) are imperialism and media studies, here are some books and essays/pamphlets i recommend. the bolded ones are ones that i consider foundational to my politics

BASICS OF MARXISM

friedrich engels, principles of commmunism

friedrich engels, socialism: utopian & scientific

karl marx, the german ideology

karl marx, wage labour & capital

mao zedong, on contradiction

nikolai bukharin, anarchy and scientific communism

rosa luxemburg, reform or revolution?

v.i lenin, left-wing communism: an infantile disorder

v.i. lenin, the state & revolution

v.i. lenin, what is to be done?

IMPERIALISM

aijaz ahmed, iraq, afghanistan, and the imperialism of our time

albert memmi, the colonizer and the colonized

che guevara, on socialism and internationalism (ed. aijaz ahmad)

eduardo galeano, the open veins of latin america

edward said, orientalism

fernando cardoso, dependency and development in latin america

frantz fanon, black skin, white masks

frantz fanon, the wretched of the earth

greg grandin, empire's workshop

kwame nkrumah, neocolonialism, the last stage of imperialism

michael parenti, against empire

naomi klein, the shock doctrine

ruy mauro marini, the dialectics of dependency

v.i. lenin, imperialism: the highest stage of capitalism

vijay prashad, red star over the third world

vincent bevins, the jakarta method

walter rodney, how europe underdeveloped africa

william blum, killing hope

zak cope, divided world divided class

zak cope, the wealth of (some) nations

MEDIA & CULTURAL STUDIES

antonio gramsci, the prison notebooks

ed. mick gidley, representing others: white views of indigenous peoples

ed. stuart hall, representation: cultural representations and signifying pratices

gilles deleuze & felix guattari, capitalism & schizophrenia

jacques derrida, margins of philosophy

jacques derrida, speech and phenomena

michael parenti, inventing reality

michel foucault, disicipline and punish

michel foucault, the archeology of knowledge

natasha schull, addiction by design

nick snricek, platform capitalism

noam chomsky and edward herman, manufacturing consent

regis tove stella, imagining the other

richard sennett and jonathan cobb, the hidden injuries of class

safiya umoja noble, algoriths of oppression

stuart hall, cultural studies 1983: a theoretical history

theodor adorno and max horkheimer, the culture industry

walter benjamin, the work of art in the age of mechanical reproduction

OTHER

angela davis, women, race, and class

anna louise strong, cash and violence in laos and vietnam

anna louise strong, the soviets expected it

anna louise strong, when serfs stood up in tibet

carrie hamilton, sexual revolutions in cuba

chris chitty, sexual hegemony

christian fuchs, theorizing and analysing digital labor

eds. jules joanne gleeson and elle o'rourke, transgender marxism

elaine scarry, the body in pain

jules joanne gleeson, this infamous proposal

michael parenti, blackshirts & reds

paulo freire, pedagogy of the oppressed

peter drucker, warped: gay normality and queer anticapitalism

rosemary hennessy, profit and pleasure

sophie lewis, abolish the family

suzy kim, everyday life in the north korean revolution

walter rodney, the russian revolution: a view from the third world

[metamorphesque]

im hoping to become a full time, full fledged toxic cinephile filmbro with an air of superiority and condescension. do you have a list of movies i should watch to start my journey?

ah! wrong door for toxic cinephile initiation — this is the department of the humble admirers of cinema. however, I’d be delighted to share some personal favorites if you’d like. the list may expand over time because.. well... cinema is a gift that keeps on giving (and my memory is a treacherous friend)

The Umbrellas of Cherbourg (1964, Directed by Jacques Demy), Ararat (2002, Directed by Atom Egoyan), In the Mood for Love (2000, Directed by Wong Kar-wai), Fallen Angels (1995, Directed by Wong Kar-wai), Chungking Express (1994, Directed by Wong Kar-wai), The Godfather Trilogy (1972, 1974, 1990 Directed by Francis Ford Coppola), Le Bonheur (1965, Directed by Agnès Varda), 2001: A Space Odyssey (1968, Directed by Stanley Kubrick), The Color of Pomegranates (1969, Directed by Sergei Parajanov), Mirror (1975, Directed by Andrei Tarkovsky), Indian Summer (1972, Directed by Valerio Zurlini), The Men (1972, Տղամարդիկ, Directed by Edmond Keosayan), A Piece of Sky (1980, Կտոր մը երկինք, Directed by Henrik Malyan), Mother (1991, Mayrig, Directed by Henri Verneuil), A Special Day (1977, Una giornata particolare, Directed by Ettore Scola), Grave of the Fireflies (1988, Directed by Isao Takahata), A Short Film About Love (1988, Directed by Krzysztof Kieślowski), The Double Life of Véronique (1991, La Double Vie de Véronique, Directed by Krzysztof Kieślowski), Three Colours Trilogy (1993, 1994, Directed by Krzysztof Kieślowski), Damage (1992, Directed by Louis Malle), Phantom Thread (2017, Directed by Paul Thomas Anderson), Léon: The Professional (1994, Directed by Luc Besson), Before Sunrise (1995, Directed by Richard Linklater), Perfect Blue (1997, Directed by Satoshi Kon), Notting Hill (1999, Directed by Roger Michell), Mr. Nobody (2009, Directed by Jaco Van Dormael), Spirited Away (2001, Directed by Hayao Miyazaki), Howl’s Moving Castle (2004, Directed by Hayao Miyazaki), The Lord of the Rings Trilogy (2001-2003, Directed by Peter Jackson), Pride & Prejudice (2005, Directed by Joe Wright), The Phantom of the Opera (2004, Directed by Joel Schumacher), Alexander (2004, Directed by Oliver Stone), A Ghost Story (2017, Directed by David Lowery), Lust, Caution (2007, Directed by Ang Lee), Submarine (2010, Directed by Richard Ayoade), Inception (2010, Directed by Christopher Nolan), Jane Eyre (2011, Directed by Cary Joji Fukunaga), Her (2013, Directed by Spike Jonze), Carol (2015, Directed by Todd Haynes), From the Land of the Moon (2016, Directed by Nicole Garcia), Frantz (2016, Directed by François Ozon)

[gallierhouse]

List of cameos I would’ve preferred to Sartre and Beckett

Frantz Fanon

Michel Foucault

Jacques Derrida

Tennessee Williams

James Baldwin

Simone Weil (although Louis understandably wouldn’t have run into her….)

Harold Pinter (but I would’ve taken Miller, too.)

Jean Genet (maybe even Dennis Cooper.)

Jean-Luc Godard.

Bob Mizer. Okay, this one is really for me, but perhaps he could’ve gone on vacation to Paris or something.

It’s not that Sartre and Beckett are bad cameos per se, but it’s also obvious that they were chosen for their recognizability. But knowing Louis — and the books he reads, and what he’s interested in — I think these figures would’ve added more value to the story.

Fun fact: Sartre and Beckett lie in the same cemetery, in Montparnasse.

[theuncannyprofessoro]

Reading Notes 6: Freud to Lacan to Fanon

We look to Sigmund Freud’s “The Uncanny,” Jacques Lacan’s “The Mirror Stage as Formative of the Function of the I,” and Frantz Fanon’s “The Negro and Psychopathology” for our inquiry into the functions of psychoanalysis and subjectivity when examining visual texts.

Why do people call an experience or event uncanny, and what makes an occurrence that appears to be uncanny but is not uncanny?

What is the relation of personal neurosis to social passions?

In what ways are oppressed and marginalized viewers alienated when they are not or rarely represented?

@theuncannyprofessoro

[hillhouses]

@quarkfcker asked me to compile a list of my favorite works of critical theory - here you go! if anyone is interested in the titles i’ll try to find links later (i’m currently stuck in bed with an endometriosis flare up and posting this from my phone lol)

Susan Sontag - Illness as Metaphor (deals critically with attaching morality to health; in one of my favorite sections Sontag discusses the vocabulary around getting better - “fighting” cancer, “beating” a disease, etc)

Cassie Pedersen - “Encountering Trauma ‘Too Soon’ and ‘Too Late’: Caruth, Laplanche, and the Freudian Nachträglichkeit” in Topography of Trauma: Fissures, Disruptions, and Transfigurations (Deconstruction of Freud’s notion that trauma is time-based and only recurrent after the action)

Judith Butler - Gender Trouble (one of my favs forever)

Eve Sedgewick - “Epistemology of the Closet” and “Between Men” (Between Men especially)

I would try very hard to muscle through a little bit of Jacques Lacan just to understand the concept of the Other. It’s not gonna be easy or fun though.

Sigmund Freud - “Three Essays on the Theory of Sexuality” (I know I know boo we hate your pussy Sigmund but I think it’s important to read Freud so you can have a leg to stand on when you’re arguing against him. He also wasn’t wrong all the time, and a lot of his theory gets picked up by feminist scholars, especially these essays. I think often it’s a matter of needing someone who wasn’t a misogynist to contextualize his work.)

Edward Saïd - Orientalism

Frantz Fanon - Black Skin, White Masks and The Wretched of the Earth (both are postcolonialist theory. Fanon is a huge name in poco that you should know.)

Louis Althusser - “Ideology and Ideological State Apparatuses” (don’t fuck with the working class etc. This one gives you cool and smart-sounding words like The Superstructure.)

Rosi Braidotti - The Posthuman (Good way to dip your toes into the never ending pool of posthumanism.)

Deleuze and Guattari are interesting but I would watch some Youtube videos explaining their work rather than just reading them because it is not brain friendly to me. Check out “The Body without Organs” and “Rhizomes” specifically. However be mindful that reading firsthand is always a good start to understanding, and videos should be supplemental.

Walter Pater and Matthew Arnold are dear to me because I’m a Romantic/Victorian scholar but if you’re not then you probably won’t get as much out of them. I still think Arnold’s Stones of Venice and Pater’s Studies in the History of the Renaissance are good foundational reads to understand a lot of the basis of art and criticism today.

Sigmund Freud (again) - “The Uncanny”

Zora Neale Hurston is incredible and a good name to keep in your pocket. She was a Black anthropologist and a lot of her work is deeply astoundingly moving.

FUCK SIMONE DE BEAUVOIR

Roland Barthes - “Death of the Author” (this is required reading for everyone.)

Peruse a good bit of Foucault.

Jacques Derrida - “Spectres of Marx,” “Hauntology,” etc. (I LOVE DERRIDA!!!! I’d definitely read an introduction to deconstruction first.)

Toni Morrison - “Unspeakable Things Unspoken: The Afro-American Presence in American Literature” (you should already be reading Toni Morrison.)

Sandra M. Gilbert and Susan Gubar - The Madwoman in the Attic (Loove this one. Feminist reading of Victorian literature.)

Hélène Cixous is a good name to know and have in your filing cabinet, as is Julia Kristeva.

Any and all bell hooks you can find, especially “Postmodern Blackness” and Feminism is for Everyone. If you’re planning on being anywhere near the sphere of education, check out Teaching to Transgress.

Jack Halberstam - “Female Masculinity” (Butchness and how it differs from male masculinity)

Rob Nixon - “Slow Violence and the Environmentalism of the Poor”

E. Ann Kaplan - Trauma Culture: The Politics of Terror and Loss in Media and Literature (connection between the individual and cultural trauma)

[burlveneer-music]

Dominique Fils-Aimé - Our Roots Run Deep - conincidental (?) stylistic resonances with Moondog, who is the subject of a new tribute album

There is a cinematic quality to “Our Roots Run Deep”. Dominique Fils-Aimé frames her latest album with a loose, dreamlike narrative structure that tells a story of growth. The first track sets the stage with the phrase: “our roots run deep underground”. Along the way, there are a myriad of human challenges and forms of interference. An underlying life force presses on. The final track closes with the lyric: “let me climb all the way to the sun”. Dominique provides a spaciousness in her work by creating her own musical language. She layers a variety of catchy, wordless vocal licks that feel like mantras or prayers—repeating, soothing the nervous system, and distinguishing her sound. These patterns don’t have any literary definitions attached to them so they escape the clutches of our interpreting minds. The result is a sonic space where the listener can feel and dream alongside innovative melodic structures. All songs written by Dominique Fils-Aimé Vocals: Dominique Fils-Aimé Bass: Jacques Roy Drums: Frantz-Lee Leonard Keys: David Osei Afrifa Percussion: Elli Miller Maboungou Trumpet: Hichem Khalfa Guitar: Etienne Miousse Didgeridoo: Kevin Annocque Photography: Jetro Emilcar Artwork: Siou-Min Julien Ensoul Records, 2023.

[haitilegends]

🎥 Immerse yourself in the captivating performance of "SOUFLE VAN," a traditional Haitian folk song arranged by Johnbern Thomas and performed by an exceptional group of musicians. .

#Haitilegends

_________

May 18, 2023

(HAITIAN FLAG DAY)

Johnbern Thomas - Drums & Arranger

Pauline Jean - Vocals

Marcus Lolo Keys & BGVS

Marc Harold Pierre - BGVS, Congas, Percussions

Aaron Goldberg - Piano

Billy Buss - Trumpet

Jacques Schwarz-Bart - Saxophone

David Casseus - Electric Bass

Cisco Percussionniste - Congas

Imeran Norman - Cowbell, Guiro

Jose Figueroa - Electric Bass

Aris Stanley Shegger - BGVS

Clyde Duverne - BGVS

This production was made possible by Johnbern Thomas Music Production LLC, working in collaboration with Pauline Jean and Marcus Lolo.

Recorded at : Institut Francais D'Haiti by Pierre Elove Filmed by Jean Sénatus & Etienne Shneider (LGM Studios)

Sear Sound NY by Jeremy Lucas Filmed by Patrick Ulysse (Unimix Films) & Steve Azor

Starke Lake Studio by Harrison Bormann Filmed by Benjamin Altidor.

Earecordingstudio by Ezechiel Augustin

Filmed by Erode Lapointe.

Mixed By Alex Venguer Mastered by Ken Rich at Grand Street Recording.

Project Narrative and Communication: Rosny Ladouceur.

Video Editor: Prime Concept Graphic Design & Project Manager : Ralph Stephane Momperousse.

This project is supported by: Aaron Goldberg, Pauline Jean Music, Marcus Lolo, Frantz Kenol, Yvon Andre (Kapi), Patrice Piersaint Music, Jean Huberman Mercure and the Haitian American Art Network, Inc.

Thank you our musician, friends and supporters for participating in such a noble project. Thank you for gifting this project to our DEAR HAITI May 18, 2023.

_________

Tap/Click #👈🏽

#JohnbernThomasMusic

#JohnbernThomas

#Jazz

#JazzMusic

#Haitianmusic

#HaitianJazz

#KreolJazz

#NewMusicFriday

#OutNow

#Haïti #Ayiti #haitianflagday

#covertunes

#PaulineJean

#MarcusLolo

#ayiticherie

#MarcHaroldPierre

#AaronGoldberg

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#JacquesSchwarzBart

#DavidCasseus

#CiscoPercussionniste

#ImeranNorman

#JoseFigueroa

#ArisStanleyShegger

#ClydeDuverne

#HaitilegendsJazz

#Haitilegends

#GabrisanMusiclounge

[laviedunefilledebordee]

Rentrée d’une journée surveillance de bac et se rappeler qu’il y a la saison 2 Notre planète sur Netflix qui vient de sortir ! (oui j’adore les docus dans ce genre!)

Mais se rappeler soudainement que le narrateur VF ne sera pas Jacques Frantz cette fois...

Sa voix si reconnaissable me manque tellement...

[nicklloydnow]

“But intellectual life is flourishing in the cafés, institutes and academies, as refugees forge community in exile. And at the École Pratique des Hautes Études, one of France’s most prestigious research universities, Alexandre Kojève has taken over Alexandre Koyré’s seminar on The Phenomenology of Spirit (1807) by G W F Hegel. Between 1933 and 1939, Raymond Aron, Georges Bataille, André Breton, Gaston Fessard, Jacques Lacan, Maurice Merleau-Ponty, Éric Weil, Hannah Arendt, Jean-Paul Sartre, Simone de Beauvoir, Frantz Fanon, Raymond Queneau, Emmanuel Levinas all come to hear his lectures. A collection of the most renowned thinkers of the day, who would come to lay the intellectual foundations for 20th-century philosophy, political thought, literature, criticism, psychology and history. It is said that Kojève’s lectures were so intricate, so deft, that Arendt accused him of plagiarising. Bataille fell asleep. Sartre couldn’t even remember being there.

(…)

The short answer is that Kojève made Hegel accessible by bringing to the surface one of the essential elements of his work: desire. Kojève did not deny he was providing a reading of Hegel that transformed the text. His interpretation has been described as ‘creative’, ‘outrageous’ and ‘violent’. The question Kojève placed at the centre of his lectures was: ‘What is the Hegelian person?’ And he answered this question through a discussion of human desire by centring a brief section in the Phenomenology titled ‘Independence and Dependence of Self-consciousness: Lordship and Bondage’, which is popularly rendered as ‘the master/slave dialectic’. And by centring this nine-page section of a 640-page work, Kojève offered readers a way to grasp an otherwise elusive text.

Poetic in its opacity, perplexing in its terminology, Hegel’s work offers an understanding of the evolution of human consciousness where the finite mind can become a vehicle for the Absolute. But what does that mean? Kojève took the lofty prose of Hegel down from the heavens and placed it in human hands, offering a translation: this is a book about human desire and self-consciousness. Or, as the philosopher Robert Pippin writes:

Kojève, who basically inflates this chapter to a free-standing, full-blown philosophical anthropology, made this point by claiming that for Hegel the distinctness of human desire is that it can take as its object something no other animal desire does: another’s desire.

What was Kojève’s reading of the master/slave dialectic?

In Kojève’s reading, human beings are defined by their desire for recognition, and it is a desire that can be satisfied only by another person who is one’s equal. On this reading, Kojève unfolds a multi-step process: two people meet, there is a death-match, a contest of the wills between them, and whoever is willing to risk their life triumphs over the other, they become the master, the other becomes a slave, but the master is unable to satisfy his desire, because they’re recognised only by a slave, someone who is not their equal. And through the slave’s work to satisfy the master’s needs, coupled with the recognition of the master, ultimately the slave gains power.

What is essential for Kojève is that one risk their life for something that is not essential. The one who shrinks before the other in fear of death becomes the slave. The one willing to die – to face the inevitability of their own non-existence – becomes the master. In other words, desire is an exertion of the will over an other’s desire. Or, as the French psychoanalyst Jacques Lacan would come to say: ‘Desire is the desire of the Other’s desire.’ It is not an attempt to possess the other person physically, but to force the other person in that moment of contest to make the other give, to bend their will, in order to achieve superiority. And in this moment, Kojève writes: ‘Man will risk his biological life to satisfy his nonbiological Desire.’ In order to gain recognition in this sense, one must be willing to risk everything – including their life. It is a struggle for mastery of the self.

Instead of Hegel’s roundabout of self-consciousness that exists in itself and for itself but always and only in relation to another, Kojève gives us: self-consciousness is the I that desires, and desire implies and presupposes a self-consciousness. Thinking about the relation between the finite mind and Absolute knowledge is opaque, but desire is human. People know what it feels like to desire, to want, to crave to be seen, to feel understood. Desire is the hunger one feels to fill the absence inside themselves. Or, as Kojève put it: ‘Desire is the presence of absence.’

(…)

Perhaps most importantly, what Kojève understood was the extent to which we humans desire to exercise some control over how other people see us differently from the ways in which we see ourselves. However tenuous or certain our sense of self-identity may seem, it is our very sense of self that we must risk when we appear in the world before others – our identity, desire, fear and shame. There is no guarantee that we will be seen in the way we want to be seen, and feeling misrecognised hurts when it happens, because it wounds our sense of self. But this risk is vital – it is part of what makes us human, it is part of our humanity. And whereas Kojève’s reading drives toward an ideal of social equality that affirms one’s preexisting sense of self when confronted by an other, for Hegel, one must take the other’s perception of the self – whatever it may be – back into their own self-consciousness. In other words, whereas for Hegel freedom rested upon the ability to preserve difference, for Kojève it rested upon the ability to preserve one’s own identity at the expense of difference.

In bringing the lofty language of Hegel down from the heavens, Kojève offered readers a secular understanding of human action, which requires each and every individual to reckon with the inevitability of their own death, their own undoing. And in doing so he shifted the focus toward the individual as the locus of social change, where history unfolds toward an aristocratic society of equals, where all difference is destroyed. Influenced by Karl Marx’s account of class struggle as the engine of history, and Martin Heidegger’s understanding of being-toward-death, Kojève’s reading of the master/slave dialectic presents another form of contest between oppressor and oppressed, where mastery over another in order to master oneself becomes the means to equality, and ultimately justice within society. Kojève adopted the master/slave dialectic in order to develop what Michael Roth called ‘a schema for organising change over time’, to think about the movement of history. And the master/slave dialectic unfolds at the level of the individual and the level of society, where the self gains recognition as a desiring subject through the endless battle for recognition that is appearing in the world with others, and the level of society where all past historical movements will be judged within a framework of right, which is the end of history.

This has been in part the legacy of Kojève. Influenced by Kojève’s reading of the master/slave dialectic, Sartre argued in Being and Nothingness (1943) that man’s freedom is found in negation. In The Second Sex (1949), Beauvoir turned to Kojève to think about women’s oppression in relation to man and the need for intersubjective recognition. Lacan’s ‘mirror-stage’ follows Kojève’s reading of Hegel to understand the role of desire as a lack in the formation of human subjectivity. Bataille turned to Kojève to argue that one could experience full self-sovereignty only in a moment of pure negation. For Foucault, it led to the belief that there is no desire free from power-relations – his central theme. And for Fukuyama, this historical contest of wills evolving along a linear temporal plane toward an equal and just society has become the much-mocked ‘end of history’ thesis – the idea that Western liberal democracy has evolved as the final form of human government in the postwar world. The postwar world Kojève himself helped to shape, before his untimely death in 1968. Ultimately, Fukuyama’s thesis captures the difference between Hegel and Kojève’s Hegel: for Kojève, the ideal of universal equality won through an endless battle for recognition was always an individualist notion that required domination when confronted by otherness. But for Hegel, human freedom could be won only through collectivity by embracing the opacity of otherness that we are constantly confronted with in ourselves, and in the world with others. It is an acceptance of that fact that self-mastery will always remain an illusion.”

[ulkaralakbarova]

Unable to find her runaway son, a woman deceives two of her ex-lovers from her youth, a mild-mannered teacher and a tough journalist, that each is the real father in order to obtain their help. Credits: TheMovieDb. Film Cast: François Pignon: Pierre Richard Jean Lucas: Gérard Depardieu Christine Martin: Anny Duperey Paul Martin: Michel Aumont Tristan Martin: Stéphane Bierry Milan: Philippe Khorsand Ralph: Jean-Jacques Scheffer Jeannot: Roland Blanche Verdier: Jacques Frantz Raffart: Maurice Barrier Mrs. Raffart: Charlotte Maury-Sentier Louise: Gisèle Pascal Stéphane: Patrick Blondel Michèle Raffart: Florence Moreau Patron of “Star Trek”: Patrice Melennec Hotel Receptionist: Robert Dalban Internal: François Bernheim …: Bruno Allain Man in garage blocked by car: Philippe Brigaud …: Pulcher Castan …: Luc-Antoine Diquéro Journalist who flirts with Lucas: Natacha Guinaudeau …: Sonia Laroze Thug: Patrick Laurent …: Jean-Claude Martin …: Guy Matchoro Julien: Jacques Maury Toilet attendant: Jacqueline Noëlle …: Christian Bianchi …: Gérard Camp …: Patrick Le Barz …: Philippe Ribes …: Claude Rossignol Michelle (uncredited): Florence Mancini Film Crew: Original Music Composer: Vladimir Cosma Producer: Francis Veber Director of Photography: Claude Agostini Editor: Marie-Sophie Dubus Producer: Pierre Richard Costume Design: Corinne Jorry Production Design: Gérard Daoudal Assistant Director: Francis de Gueltzl Casting: Françoise Menidrey Sound: Bernard Aubouy Producer: Gérard Depardieu Production Manager: Jean-Claude Bourlat Script Supervisor: Colette Crochot Boom Operator: Sophie Chiabaut Electrician: Richard Vidal Makeup Artist: Thi-Loan Nguyen Stunt Coordinator: Guy Di Rigo Location Manager: Jean-Yves Asselin Stunt Coordinator: Antoine Baud First Assistant Camera: François Amado Movie Reviews:

[sporadiceagleheart]

This is a tribute birthday edit to Judith Eva Barsi 1978-1988 10 years old of age and those from gta vice city, poltergeist poltergeist III, Jaws 2 Jaws The Revenge, All Dogs go to heaven, Land before time rest in peace Dominick DeLuise, Burton Leon Reynolds Jr., Charles Nelson Reilly, Victor Tayback, Anna Maria Manahan, Godfrey Quigley, Jack Angel, Harald Juhnke, Michel Modo, Jacques Frantz, Ernest Borgnine, Tony Jay, Hamilton Camp, Pat Cleo Corley, Wlodzimierz Bednarski, Vadim Kurkov, Edeltraud Schubert, William Ryan, Martin Patterson Hingle, Bill Erwin, Joseph Henry Ranft, Roger Carel, Linda Grey, Andrei Yaroslavtsev, Henri Virlogeux, Sven Erik Herman Vikström, Melvin Van Peebles, Elizabeth Lee Fierro, Fritzi Jane Courtney, Jan Rabson, Naomi Ruth Stevens, Marilyn Sue Schreffler, Murray Hamilton, Barbara Alston, Roy Richard Scheider, Marc Gilpin, April Gilpin, Gary Michael Dubin, Susan French Moultrie, Collin Wilcox Paxton, Charlton Heston, Anne Baxter, Forrest Meredith Tucker, Gilbert Roland, Thomas Lester Tryon, Joseph Peter Mascolo, Barry S. Coe, Herb Muller, Heather Michele O'Rourke, Zelda May Rubinstein, Nathan Davis, Richard Fire, Jane Alderman, John Garfield, Dominique Ellen Dunne, Julian Beck, Beatrice Whitney Straight, Will Sampson, Louis Byron Perryman, Sonny Landham, James Karen, Robert Houston Broyles, Noble Henry Craig Jr., Geraldine Mary Fitzgerald, Fred Rogers, Susan Peretz, Avicii, Michael Jackson, Alan Rickman, Gene Wilder, Jack Albertson, Richard Belzer, Michael Gambon, Matthew Perry, Raymond Burr, Brittany Murphy, Denise Marie Nickerson, Roy Mitchell Kinnear, Nora Denney, Leonard Stone, Diana Mae Sowle, Lisa Loring, Raul Julia, David John Battley, Günter Meisner, Aubrey Woods, Ursula Reit, Robbie Coltrane, Peter Capell, Roberts Blossom, Billie Bird, Judy Garland, Margaret Hamilton, Clara Blandick, Shirley Temple, Baby LeRoy, Baby Peggy Montgomery, Werner Heyking, Walker Edmiston, Anthony Newley, Michael Goodliffe, Yevgeny Vesnik, Georgiy Vitsin, Roberto Del Giudice, Manlio Guardabassi, Sergey Aleksandrovich Martinson, Judith Barsi, Maria Agnes Virovacz Barsi, Agnes “Agi” Barsi Lidle, Barna Barsi, John Ingle, we will miss you all stars

[miseryscrowned]

edgy oc ask for Frantz Jacques van Houtburg, 1, 10 and 17?

I feel like these asks were made for him my edgy pathetic faildad <3 Thank you for sending these 💜

1: What memory would your OC rather just forget?

All of them. Literally. The man spent decades drinking his ass into oblivion to avoid remembering everything he did wrong, from disappointing his father because he wanted to be an artist instead of a career that would restore the family’s wealth, losing his family’s seat at the council and then the deal and having to look after his dying wife while working day and night to sell his paintings for basically scraps. The look in her eyes, even while in pain they were so full of love which he didn’t deserve, of faith and trust in him and he would keep seeing them all the time in his mind. Frans hid all of Catharina’s belongings, all his portraits of her in a locked room because he only wished to forget, to escape the memories haunting him.

10: What's an AU that would be interesting to explore with your OC?

The first thing that would come to mind is “what if Frans never made a deal?” AU, his wife would be alive but idk how they would make a living because his art career would have never took off without the deal and i’ll be real he’s not that good at much else..

When I made him in bg3 CC I was thinking how he would do in that situation (technically it’s the same universe, dnd), and he would hate it so much that it’s hilarious to me, he would straight up Not have a good time but I think he would treat Wyll, Shadowheart and Karlach like his children but he would also complain all the time fr, he would also fistfight the other artist, the one you find at the hideout.

17: What is the worst thing you have put your OC through story-wise?

*Looks at Frans’ entire story* being the family disappointment and carrying the guilt for his family falling to disgrace is a pretty bad one (it’s not even his fault he was so young 😭) Losing his wife is no doubt the worst and he never gets used to the pain and the loss, Never. Then as I mentioned decades of hedonism and self destruction trying to escape grief and guilt.

Then he was put into an asylum ran by vampires which also caused him a great deal of distress, he would say it’s the second worst time of his life (but at least he found Lorenz <3)