As we draw intricate Pookalams and savour the delectable Onam Sadhya, we honour the legacy of a revered ruler, King Mahabali, that transcends eras.
May this Onam be a tribute to his timeless influence and a celebration of the unity he championed. Happy Onam!🌾🌸👑
#Trehan #TrehanIris #Onam #HappyOnam #OnamCelebration #KingMahabali #Festival #Festivities #TimelessLegacy
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The On1y One and the Queer History of *Poetic Cinema*
Still thinking about the ending of The On1y One, because that last shot of the pitcher is a clear reference to one of the most discussed shots in cinema history. Just look up "Ozu vase" and you'll see a plethora of written and video essays speculating on the meaning of it. The Japanese director Yasujiro Ozu cut to it in the midst of a climactic conversation in the film Late Spring between a father and daughter about her arranged marriage. Nerdwriter, in one of their better video essays, does a solid run-down of the discourse.
The shot is used as one of the prime examples for Paul Schrader's absurdly significant theory of Transcendental Style in Film. This style is what non-cinephiles will refer to as what's boring, confusing, and pretentious about Art House movies, and they are boring, confusing, and pretentious--intentionally so! When you see the "Poetic Cinema" meme, it comes from the director Andrei Tarkovsky as he's talking about his idea of sculpting time in cinema which is akin to this.
In the video below, Schrader describes, "If you consistently withhold and now the viewer is leaning toward you, now you have to, in a certain moment, free them--do something unexpected."
Freedom, in these instances, is not achieved through the happy ending. It's a spiritual release achieved by breaking the rules and patterns of the established reality.
Not enough is written about the queerness of Ozu and his films (including the possible Boston marriage situation of his muse, Setsuko Hara). Luckily, the some solid pieces exist, and Ozu would be an awesome place for anyone interested in asexual queer practices in film to look at. He's often held up as a symbol of conservative Japan, but his stories about the familial pressures and anxieties of heterosexual marriage and his formal strategies that allow people, if not physical escape, at least spiritual release from the bounds of societal expectations are quite radical.
The On1y One evoked Ozu's spiritual resistance to condemning limits throughout its series and in its final image. The conservative culture of families, marriages, economics, and schooling had locked all these queer men into psychological cages that isolated them and caused them to neglect their own feelings and others. Without fast-forwarding time or writing a fantasy, how can the series free them? The poetry and human-less pillow shots throughout have clued us into an experience of the world bigger than oneself. That final image is the culmination, transcending tragedy, abandonment, and death for a much queerer dream of eternity.
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heres smth thats been eating at me lately... thoughts on a fun fancy cowboy outfit alcor?
the amount of cowboy lore i learnt just for this post is absolutely wild but i hope you like alcor's woody fit :)
Highlights:
i wanted to give him massive cowboy boots but when i looked at stereotypical cowboy fits i realized that they tend to have big pants rather than big boots :(((
some time after:
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Happy thanksgiving to the American TAU people! I didn’t have much time today (with baking and setting up lights) so I ended up just making this doodle. I bet Henry made a turkey just for Dipper so he could stay corporeal all day and spend time with his family:)
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this is a very interesting description to be presented with in light of all the discussions that have been had thus far lmao.
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NEXT CHAPTER SPOILER PLS PLS PLS PLS
uh. uhhhhh. uhhhhh. ratings might change??? shit is about to go down??? baddie chuuya?? but also poor bitch boy chuuya?? etc etc 🥰🥰 heheheheh
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just another sticker on the board of my endless affection for covers, but once upon a time hayley williams covered a yearnful little tune called "nineteen" and added the line, "could you blame me?" at the end of the song, and it's such a tender, pleading little addition that it changes the entire song from a sort of angry, dejected accusation into someone cradling their too-loving younger self - still mourning, maybe, but the yearning gets displaced from the expression of a present feeling to the softer, distanced recollection of a former longing. anyway everybody should be covering other people's songs and making silly little changes ALL THE TIME
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ur the only person on my dash whos posting abt doctor who so i am giving u this thought. i think they should periodically use both he/she pronouns for the doctor no matter what form she is in do u get me
oh I absolutely get you and I agree. I wish someone who had any braincells about gender would get on the writing team bcus so far the pronouns and gender identity the doctor has has always been connected to the physicality of her form at the time and I think they should change that. i'm right. you're right.
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Lol woke up to 3 good morning texts
I am the Native Bridget Jones as my best friend and her mother have been saying 😅
But also who gonna tell these people that #1 I am very traumatized and #2 very Autistic so idk what the fuck is going on and imma be in my house
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dhawan!master may genuinely be my favorite master of all time. like he may have surpassed delgado!master after this episode. i just Love the way he blends my favorite aspects of all the masters before him, and sacha dhawan plays him with so much humor + genuine heart. he really feels like THE master to me. like if i am just imagining a general representation of the master without thinking about a specific actor/era, dhawan is who appears in my mind now
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