#sixties animation

[atomic-chronoscaph]

The Invincible Iron Man - The Marvel Super-Heroes (1966)

[omg-hellgirl]

Mick Jagger as TURNER in PERFORMANCE (1970).

[star-dust78]

SPOILERS 4 THE NEW JACKNJELLIFY MILESTONE

animation under cut :D

[dougielombax]

Oh these two are SO married.

They have that old married couple energy to them.

…

In my mind.

They are

They are husbands.

And I adore them for it!

(Also I really like Killix’s blue skinsuit!)

I imagine they live together in a bizarre prefab-mobile home kind of getup in a swamp on a small sparsely populated planet.

[thegikitiki]

Home Design & Decor, 1968

[9in-gavin]

Gavin getting flashed by an RK’s ass

[starryeyedstray]

the rk-line as dere types

markus: deredere

connor: yandere (this might be a controversial take)

sixty: tsundere

nines: kuudere

none of them are dandere bc i hold the strong belief that rks are certified yappers so none of them could pull off the silent/quiet type

[atomic-chronoscaph]

One Million Years B.C. (1966)

[retroactivosigue]

Monterey - Eric Burdon & The Animals

[fatehbaz]

Whither the man-eater? This entity was once the prime interest of an entire league of famous sportsmen in colonial India, the engrossing content of many books [...]. [T]he man-eater was first constructed, and then dismantled [...]. This erratic rise and fall of the man-eater is descriptive of changing power relations, the ephemeral yet pervasive axis between the colonial and the post-colonial [...].

---

Jim Corbett was a case in point. [Around the time of independence, Corbett authored popular stories of his adventures in colonial India in the preceding decades, including Man-Eaters of Kumaon and The Man-Eating Leopard of Rudraprayag]. [...]

The man-eater was destined [...] to shine in all its ferocity at a certain moment in time and not any other.

Thus, [there is special] context within which specific 'meanings' get associated with animals, at certain times, and at the the hands of select actors [...].

[T]he engulfing realm of the printed word, especially the English book, gave astounding shape and clarity to the idea of a man-eater. [...] The man-eater was never thought of as a sub-species of Panthera tigris in the tables of natural history; rather the man-eater [...] was ‘out of nature’, and thus some kind of an addendum to naturalist understandings. [...] The making of the man-eater into a coherent animal category follows an arduous path. [...] [M]otor cars and other gadgets such as hunting lights had arrived on the scene. [...] [A British officer] who had served in the Central Provinces for quite a while after [1909] [...], commented [..] ‘With modern inventions it would be quite easy to be playing cards in the tent [,] and when the tiger turns up, kill him by pressing a button on a tent wall.’ [His] exasperation was evident [among] [...] [s]portsmen in the 1920s and 1930s [...]. [A] single species splits into undefeatable man-eaters and gentlemanly tigers worthy of observation alone. [...] Amid such lesser sportsmen the man-eater thus became a tactic of power which elevated its [colonial] victor over both the hunters of the past and contemporaries of the present. [...] But it is truly a question if this muzzle-loading gun in the hands of the native [...]. The implication was that sportsmen had a fairer sense of restrictions than the non-sporting classes. With the latter classes gaining political mobility, fears of an 1857-like massacre were also in the air. [...] [B]y the 1930s [...] a host of sportsmen [...] might have preferred to see natives handling a rickety muzzle-loader than an elegant express rifle; the man-eater was intended to remain at large for those ["superior" colonial sportsmen] in possession of the latter. [...]

---

This development of a sportsman into an author can be located within a history of the book. [...] The English novel as a genre [...] began to acquire greater circulation after [...] 1870. [...] [A] book on which the sportsman laboured was like a trophy [...]. For all such ongoing fuss about size [records], a man-eater was more about qualities: cunning, finesse, stealth [...]. If the difficulty of hunting a man-eater was what gave the sportsman a chance to prove the superiority of his skill [...], then this difficulty was the stuff of a story, not a [size] measurement or a mounted trophy. And [...] an aspect of photography. [...] It authenticated the effort of a sportsman and could not be bought of the market [taxidermy trophies available to simply purchase at local shops] except through a book that bore the author’s name. [...]

---

There were dimensions of imagination and power that accompanied this. The idea of a man-eater was such that it helped advance the long held belief that the natives were a hapless lot. [...] Pandian [...] shares how the man-eaters of the colonial period were equated with the ‘arbitrary monarchs’ of a pre-colonial era, which also the British sportsman as a symbol of ‘sovereign might’, would meet on its own grounds. [...] [Consider also] the manner in which the simultaneous depiction of the remaining tigers as ‘large hearted gentlem[e]n’ of the forests (a thing Corbett professed) went to convey the contrary image of a docile, tame and innocent nature that could come to be harmed by natives at the slightest instance.

Protecting the people gave the colonisers power over animals, and protecting animals gave it a power over people.

Notions of animality and criminality intersected at the site of the man-eater.

The entire continuum of man-animal relations was thus canvassed through this tactic, which also the medium of the book in the later colonial periods broadcasted to distant corners of the colony. [...] What perhaps distinguished the man-eater from any ordinary form of game hunting was that it was additionally a form of ‘language-game’. [...] [T]he man-eater was an account in which the ephemeral idea of an ‘India’ glimmered constantly in the background. But it did so largely in English. The man-eater was an English diatribe [...]. The side by side portrayal of the victims of the man-eater as ‘superstitious’, ‘rural’ and ‘ignorant’, only went to establish before the (civilised) readers the proof of an (uncivilised) mass waiting to be salvaged, assimilated or disciplined. [...] [A] mild perusal of Corbett’s My India, published about five years after India’s gaining of Independence, provides ample evidence of the above dynamic. The eventual autonomy of the British administration besides a celebration of the decision making capacities of rural masses (described as ‘real’ Indians) is legend in the pages of this book. The political reality of colonial rule is conflated with a nationalistic pride, which also the sportsman allocates to himself in the describing of his (my?) India. One is left to understand that the man-eater thrived at its best in a colonised India as much as an Indianised colony. As the tension between an emerging nation and an erstwhile colony acquired sharpness in the later colonial periods and a decade thereafter, the narrative of the man-eater came into its own.

The man-eater is thus a veritable creature of timing that shone at its brightest in the 1940s, even if it had been shot down 30 years ago by the likes of Corbett. [...] [Later in the twentieth century, there was a] transformation of the landscape from a designated ‘wasteland’ under colonial administration to a ‘World Heritage Site’ in Independent India. At the peak of such transitions in the 1970s [...], the tiger itself was assuming cosmopolitan proportions and being regarded as a ‘citizen’ by the state. [...] [This was an] emergence of [...] a 'cosmopolitan tiger' [...].

---

All text above by: Varun Sharma. "Rise and Fall of the 'Man-eater': The Changing Science and Technology of a Species (1860-present)". History and Sociology of South Asia Volume 10 (2016), Issue 1. First published online 8 December 2015. At: doi dot org slash 10.1177/2230807515600087 [Bold emphasis and some paragraph breaks/contractions added by me. Text in the first paragraph of this post is from the article's abstract. Presented here for commentary, teaching, criticism purposes.]

[savage-kult-of-gorthaur]

"LOOK WHO'S ENTERTAINING THE CHILDREN ON SATURDAY MORNING NOW."

PIC INFO: Resolution at 900×1329 -- Spotlight on an illustration from TV Guide (March 1968), worrying for the rest of the country that there’s too much superhero action on Saturday mornings instead of reportedly "innocent" humorous cartoons like Mickey Mouse, Bugs Bunny, Popeye, Felix the Cat, among others. Artwork by the legendary Wally Wood.

Source: https://thatsmyskull.blogspot.com/2009/05, X, various, etc...

[ohnoitsz1m]

Furry Victor!

[harmonytre]

I may have gone overboard with the poses, but I don't care I really like them lol. Based on a prompt by @hamartia-grander !

[thegikitiki]

Bustin' Out All Over...

"It's a Bikini World", Movie Poster, 1967

Get ready for the wildest ride of the summer!

Join the hippest cats on the beach in "It's a Bikini World"!

When a group of fabulous teenagers enter a far-out surfing competition, they're not just hanging ten - they're chasing the ultimate dream!

With a prize purse that's totally outta sight, they'll stop at nothing to catch the winning wave and claim the cash!

But it's not all sunshine and surfboards - romance is in the air, and these beach bums will do whatever it takes to win the heart of their groovy crush!

Don't miss out on the most fantastic beach party film of the year - "It's a Bikini World" is a gas, baby!

So grab your board, and get ready to ride the waves of fun with the most fabulous film of 1967!

"It's a Bikini World" - it's the epitome of cool, daddy-o!

[xponentialdesign]

Elongated Flat Cube Waves // 100 frames \\ 50FPS study of Jean-Pierre Yvaral op art works, second exploration first iteration