#misc papers

[deniroarchives]

“Publicity flyer for Greetings noting "A whole gallery of new, young talented performers!", 1968 Promotional postcard for Greetings, 1968 Unidentified photographer [Production still of Robert De Niro as Jon Rubin (left), Gerrit Graham as Lloyd Clay (center), and Jonathan Warden as Paul Shaw (right) rehearsing scenarios to avoid being drafted for the Vietnam War] 1968 Gelatin silver print Robert De Niro Papers 74.5 Robert De Niro's first feature role in a film was in Greetings (1968). In this satirical counter-culture film, De Niro plays Jon Rubin, an amateur filmmaker and voyeur. Together with his friend and conspiracy theorist Lloyd Clay (Gerrit Graham), Rubin tries to coach Paul Shaw (Jonathan Warden) in dodging the draft for the Vietnam War. The film's director, Brian DePalma, would become one of the primary figures of the "New Hollywood," or the "Hollywood Renaissance," a period that began in the mid 1960s and extended through the early 1980s. The New Hollywood signaled a shift from the failing studio system to younger, independent filmmakers who were making for a younger audience inventive, original films focused on real life issues of the day, with bold subject matter including sex, drugs, and violence.”

[sakemilktea]

You got booped by Panini the wanderer frog

He likes you very much and wishes you good booping day

(or only day if you aren't into booping)

He also documented it on his little journal

Image ID

A photo of a green and white belly hand knitted frog wearing a lavender hat and yellow hoodie carrying a little crossbody bag and booping to the camera (frog + clothes are bought but handmade from local ladies, the bag is made by me)

The same frog as before but with an upper photo. He's holding a pencil on his left hand and a journal over his little legs that has a frog hand with "1 apr 2024" and "boop" written on the left page and a "today i booped strangers on tumblr ♡" with a little self portrait below on the right page. At his left side there is a pen holder with other pens and a calendar, and oh his right a plate with cookies and an empty mini cup, he already got his morning tea!

(frog + clothes are bought but handmade from local ladies, the bag + journal is made by me, the other thingies are from sylvanian families sets)

[paperpeachy]

how come itty bits sticks to the world's aesthetic for every branch but the overthere. this funky asf americano hot dog stand smack in the middle of the pearly gates...grambi is so unserious

[musubiki]

sketch dump but its all mochi and lime

[moeblob]

Right and his work menaces (Brent and Karen).

I don't remember last I mentioned it but apart from crude nicknames to people (except Chris), he also just puts them in his phone really weird (except Chris, who is literally in his phone as Chris). And I bring this up because in Right's phone, Karen is saved as "Lawful Obligation".

[aghastro]

Bird seller

[flamingoinkart]

5x7 traditional collage

recently sold on my shop :]

[magnuspanoptes]

and when i say jon, elias, and gertrude were basically playing out du maurier's rebecca—

Sally Beauman, Afterword to Rebecca Rebecca is the story of two women, one man, and a house. Of the four, as Hitchcock once observed, the house, Manderley, is the dominant presence.

Heta Pyrhönen, Bluebeard's Accomplice: "Rebecca" as a Masochistic Fantasy First, however, she [Bluebeard's Wife] must pass a test of obedience: she must not visit Bluebeard's locked room. In Rebecca, the protagonist must not seek knowledge about Maxim's past, a past that has spatial correlates in Rebecca's bedroom and boathouse.

Heta Pyrhönen, Bluebeard's Accomplice: "Rebecca" as a Masochistic Fantasy According to the contradictory logic of the "Bluebeard" tale, the husband ensures that the stated goal of obedience is never reached. In Rebecca, Manderley continues to run according to Rebecca's instructions; no changes are made in the environs she designed; her study, bedroom, and wardrobe are left intact; and even the fancy dress ball follows her arrangements. By continuing his life at Manderley as if nothing has changed, Maxim prompts his second wife to ferret out his secret. When she seeks knowledge about Rebecca and imitates her, she acts according to his covert script.

Du Maurier's addition to the "Bluebeard" intertext is the dead first wife's participation, first by proxy

and then as a water-eaten body, in the drama being played at Bluebeard's house.

Sally Beauman, Afterword to Rebecca The first wife, Rebecca, is vivid and vengeful and, though dead, indestructible: her name lives on in the book’s title.

The second wife, the drab shadowy creature who narrates this story, remains nameless. We learn that she has a “lovely and unusual” name, and that it was her father who gave it her. The only other identity she has, was also bestowed by a man—she is a wife, she is Mrs. de Winter.

Sally Beauman, Afterword to Rebecca There is a final twist to Rebecca and it is a covert one. Maxim de Winter kills not one wife, but two. He murders the first with a gun,

and the second by slower, more insidious methods. The second Mrs. de Winter’s fate, for which she prepares herself throughout the novel, is to be subsumed by her husband.

in rebecca the narrator remaining nameless is meant to contrast rebecca's defiance of maxim with the narrator's acceptance of him. in the magnus archives, the obvious point being made re gertrude and jon's different recording signatures (simply her name vs his beholding title) is that unlike jon, gertrude refused to let herself be consumed by the eye and in turn, assist jonah with his plans (obligatory, no, i'm not blaming jon for being manipulated by elias). also, jon's role as jonah's archivist results in his identity as an individual slowly being subsumed in a very literal sense as he gradually gives himself up the beholding. throughout season four he resembles elias more and more as he displays his powers. and then in the finale, mag 160 - "the eye opens", he becomes jonah/elias as he assumes his voice inflection, experiences his fear, speaks his words, and fulfills his goal of summoning the entities into their world.

+

Heta Pyrhönen, Bluebeard's Accomplice: "Rebecca" as a Masochistic Fantasy By confessing (to Rebecca's murder and his past), Maxim achieves his covert goal: he finds himself in the same marital structure as before. He places himself in the protagonist's hands, for now she has the power to destroy him. Du Maurier's Bluebeard is in the same situation with his second wife as with his first, for both can bring him the public humiliation he fears. Unlike Bluebeard's wives, they have the power to undo him.

MAG 1 - "Anglerfish" // MAG 67 - "Burning Desire" // MAG 152 - "A Gravedigger's Entry" // MAG 4 - "Pageturner" // MAG 40 - "Human Remains" // MAG 44 - "Tightrope" // MAG 122 - "Zombie" // MAG MAG 158 - "Panopticon" // MAG 160 - "The Eye Opens" // MAG 161 - "Dwelling" // MAG 200 - "Last Words"

[bytedykes]

[ID: Scum Villain fanart. It's Luo Binghe, during the five year period after Shen Qingqiu's death. The drawing shows Binghe holding Shen Qingqiu's corpse to his chest, its head on his shoulder. His eyes are closed and he has a mournful expression. He's dressed in red and black while the corpse wears a loose white robe which trails off the edge of the drawing. /end ID]

i miss my wife, tails

[teatitty]

I can't even take the chuunin exam argument seriously anymore because it's literally just two traumatised PTSD riddled men who are overprotective of the students taking one comment just a little too personally and blowing up about it. Kakashi happens to hear Iruka question the motives of the kids' teachers and is pretty obviously thinking "did this bitch just imply I don't care about the kids I literally almost died for?" and so reactively snaps back without thinking first with the cruelest thing he can (which is to say how it could be fun to break them in with pain) with the sole purpose of goading Iruka's infamous temper to which Iruka, who is also super protective of the kids and also just took this personally, rises to that goad and snaps back directly to Kakashi and then it becomes a fucking fire

And this all could've been avoided if even one of them had thought to calmly explain their perspectives in private but unfortunately they're both protective of the kids and tend to let their emotions take over in regards to said kids' safeties [such as: both of them being ready and willing to sacrifice themselves to protect their students] and it leads to this. All because they just happen to be a little too similar and all I can do is laugh at them for not seeing it at the time. The interactions they'd had prior to this were always good natured and friendly so you'd think they'd know not to get reactionary about this stuff but alas! They're only human and shit happens

[pngmart]

more vintage postcards

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9

[deniroarchives]

“Unidentified photographer [Robert De Niro's headshot] Ca. 1963 Gelatin silver print Robert De Niro's resume, ca. 1963 Robert De Niro Papers 167.11

Unidentified photographer [Robert De Niro's headshot] Ca. 1968 Gelatin silver print Robert De Niro's resume, ca. 1968 Robert De Niro Papers 167.14 Actors and other performers have used photography to promote themselves since the nineteenth century. The "headshot," an 8" x 10" portrait, often with the actor's resume attached to the back, became popular in the 1960s. Robert De Niro's earliest headshot [first photo] is dated from about 1963. The resume attached to the back lists his earliest roles from his time at Luther James's and Stella Adler's classes. The second headshot [third photo] uses a compilation of four images to illustrate the actor's range and ability to adopt different looks.”

[annapolisrose]

Paper lanterns.

[paperpeachy]

nobody gets frutiger aero like spm does

[not-p1]

[that-one-paintbrush]

Faker.

(it's' sigmabrush)

Where the hell did you come from anyway?!

(HII SIGMABRUSH HIIIIIIII 😚😚😚😚😚 wheres alpha spoon. also yes that is jazzy olivers voice😜)