#theres a universe in which these two are written or portrayed in a way that is Not charming but uses the same tropes they do

[quietwingsinthesky]

sorry i am watching star wars movies thats why im not shutting up about this. but god its SO funny. that when han is about to leave and storms off mad at the beginning of empire strikes back, he’s doing it with the swagger of A Stereotypical Manly Man but like his actual complaints about leia are “won’t say goodbye to me when im sad im leaving her” and “doesn’t want me to give her a goodbye kiss >:(”

the hopeless romantic of the two is han. this is indisputable.

[so-shiny-so-chrome]

Witness: Supergirrl

Creator name (AO3): supergirrl

Creator name (Tumblr): le-temps-viendra36

Link to creator works:  https://archiveofourown.org/series/343042

Q: Why the Mad Max Fandom?

A: I’ve never seen the original three movies, so I went into Fury Road having no idea what I was about to watch, and it changed my life. I’d never seen a movie that looked or felt like Fury Road, and it blew my mind. What inspired me to write fanfiction for the movie were the women, especially the sisters. I had never seen survivors of sexual assault/domestic violence portrayed in that way, and it made me want to write about them.

Q: What do you think are some defining aspects of your work? Do you have a style? Recurrent themes?

A: I think the defining aspects and recurrent themes of my work are feminism and magical realism/mythical steampunk, and the intersection of those different ideas. Those ideas are all present in Fury Road, I try to delve into them more and expand them beyond the scope of the film. 

Q: Which of your works was the most fun to create? The most difficult? Which is your most popular? Most successful? Your favourite overall?

A: I don’t know if I can pick a favorite work or one that was most fun, because they’ve all been really rewarding in different ways, but the most difficult one was definitely the Furiosa chapter of Our Words. It took almost two years to write because I really struggled with getting inside Furiosa’s head. Even though I enjoy her a lot as a character, I don’t relate to her the way I do to the sisters. Although they’re all victims of Joe, they occupy very different roles in his regime, with Furiosa occupying a more conventionally ‘masculine’ role as an imperator and the sisters occupying the ‘feminine’ role of breeders/wives, thought they ultimately use their different positions within Joe’s patriarchal hierarchy to overthrow and kill him. As a more conventionally ‘feminine’ person, I relate to them more strongly than I do to Furiosa. 

Q: How do you like your wasteland? Gritty? Hopeful? Campy? Soft? Why?How do you like your wasteland? Gritty? Hopeful? Campy? Soft? Why? 

A: I think my wasteland is a blend of gritty, soft, and hopeful, but I focus on the hopefulness the most. For me, the wasteland represents our current world and my own mental health/life, and I have to believe that we can make things better (as they ultimately do in the movie).

Q: Walk us through your creative process from idea to finished product. What's your prefered environment for creating? How do you get through rough patches?

A: I either write things in one intense late night writing fest, or in bits and pieces over time. I only write when I’m alone, and I like to either have instrumental music playing or silence. 

Q: What (if any) music do you listen to for help getting those creative juices flowing?

A: I have a huuuuge long playlist of music that goes with/inspired each part of Words, composed mainly of film and TV scores, that I listen to whenever I write.

Q: What is your biggest challenge as a creator?

A: Finding the time/energy to actually write my fics down. I think about them all the time throughout the day, I am just really bad at actually physically typing them. 

Q: How have you grown as a creator through your participation in the Mad Max Fandom? How has your work changed? Have you learned anything about yourself?

A: I think my work has gotten weirder and more magical/mythical, because I’ve been inspired by the inherently weird, quasi-magical world of Fury Road, and writing Fury Road fic has helped me work through my own experiences as an SA survivor.

Q: Which character do you relate to the most, and how does that affect your approach to that character? Is someone else your favourite to portray? How has your understanding of these characters grown through portraying them?

A: I relate to all five of the sisters in different ways, but especially to Toast. Overall it makes writing her (and Angharad and Cheedo, who I also relate to very strongly) easy and fun. I think I’ve come to see that their different archetypes aren’t mutually exclusive-in their own ways, they’re all knowing and fragile and capable, and so on. 

Q: Do you ever self-insert, even accidentally?

A: Yes, I definitely project some of my own thoughts and experiences onto the Sisters, especially with regards to their being survivors of sexual assault. But I think that it’s impossible to completely remove yourself from your writing/characters.

Q: Do you have any favourite relationships to portray? What interests you about them?

A: So many! I really love the relationships of the five sisters, with each other in particular but also other characters, like Furiosa, Max, and Nux. I think their unique personalities, their strong bonds with each other, and their dynamic is endlessly fascinating. 

Q: How does your work for the fandom change how you look at the source material?

A: I definitely pay closer attention to minor details, like how the characters’ clothing changes throughout the movie, and what characters are doing in the background, because it’s such a detailed world and there’s a lot you can pick up on in those little things. 

Q: Do you prefer to create in one defined chronology or do your works stand alone? Why or why not?

A: My series Words consists of several multi-chapter fics and oneshots that all exist in the same chronology, but I also have some oneshots that stand alone. Overall I prefer to write in the Words universe because it feels more real and detailed to me. 

Q: To break or not to break canon? Why?

A: I break canon all the time and I think it’s generally a good thing. For me, I’m usually doing it because I want to tell a story that fits into the broader themes of Fury Road without necessarily aligning with all the specific facts of the film. 

Q: Share some headcanons.

A: I have so many! Most are in my fics, but one that I’ve never had the chance to incorporate into my writing is that Miss Giddy used stolen War Boy paint to write the words left in the Vault for Joe to find.  

Q: What are some works by other creators inside and outside of the fandom that have influenced your work?

A: Within the fandom, @jaesauce’s modern AUs have definitely influenced how I write Toast and Capable, both as individuals and in the context of their relationship with each other and with Slit and Nux respectively. Outside the fandom, I’ve been really strongly influenced by Jo Graham’s Numinous World series, with its themes of magic, the divine, and social justice.  

Q: What advice can you give someone who is struggling to make their own works more interesting, compelling, cohesive, etc.? 

A: It sounds a little trite, but in my mind, ultimately fanfiction is for yourself. If other people like it, then great, but that isn’t my purpose in writing it. So I write what I find interesting and compelling, and sometimes other people are interested and sometimes they aren’t, but it’s okay either way. As for maintaining internal cohesion, I find it helpful to re-read what I’ve previously written to make sure I haven’t forgotten anything. 

Q: Have you visited or do you plan to visit Australia, Wasteland Weekend, or other Mad Max place?

A: I have not yet, I would like to visit Australia someday, and I think the Wasteland Weekend would be really fun to attend one year.

Q: Tell us about a current WIP or planned project.

A: Right now I’m just working on Knowing, the last fic planned in the Words universe, set from Toast’s POV. I’ve got it all worked out in my head, I just need to get it on the page!

Thank you @le-temps-viendra36

[fysebastianstan]

It’s 4:45 on a Tuesday afternoon, and Sebastian Stan is singing over the phone. “Have yourself, a merry little...”

We had been in the middle of a conversation about the actor’s new film, I, Tonya, in which he appears alongside Margot Robbie and Allison Janney, when he began to croon. Stan was clearly feeling seasonal in a holiday sense, but given the early response to the film, it might be a good idea to start embracing awards season, too.

Best known for his role as Bucky Barnes/the Winter Soldier alongside Captain America in the Marvel Cinematic Universe, Stan’s performance in I, Tonya, couldn’t be further removed. “For me, this movie and the Marvel world are miles apart,” he says.

The actor plays Jeff Gillooly, Harding’s on-again/off-again-eventually-ex-star-crossed-lover and in the presence of other acting powerhouses—Robbie and Janney have been widely praised for their performances as the titular skater and her mother, respectively—he holds his own with a surprising amount of nuance, considering some of his bad (not good!) behavior depicted in the duration of the film.

The movie is based around a series of present-day interviews with both Harding and Gillooly, one often contradicting the other. The result plays like a Coen Brothers-plotted, fourth wall-breaking sports biopic, and takes a hard look at the events surrounding the incident that took place over two decades ago—with the nature of celebrity and what it means to win examined along the way. Nearing the end of a long junket, Stan took some time to chat with VICE about his character, the film, and more.

VICE: One thing that’s certain about I, Tonya is that your character has cemented a spot in the film mustache hall of fame.  Sebastian Stan: I’m trying to think of what other mustache’d characters there have been. I’ll take that as a compliment. 

VICE: It's without a doubt a compliment. So, what first attracted you to the movie? Sebastian Stan: Steven Rogers just wrote an amazing script. It was so insane to read it that I had to find out whether or not it was true. Having seen the 30 for 30, The Price of Gold, I was familiar with the story, but the script was giving a whole different take on what happened that we hadn’t really seen before. It started with that, and then it just was really well-written and captivating, and at the same time, there were real people here. The idea of having to mold to someone, as opposed to creating a character, was also attractive.

VICE: You and Margot play off each other really well. Did that chemistry build as filming went on, or did it click right away? Sebastian Stan: I feel like it clicked right away. We had the screen test and it went really well. We were laughing and it just seemed really collaborative. There was always a sense of trust there. Her commitment has always been, to me, at least on this film, 120 percent. So, there was never any fear or hesitation about where to take a scene, because I knew that she was going to meet me halfway.

VICE: The movie plays Tonya Harding as this sort-of endearing figure. Your character, Jeff Gillooly, not so much. What goes into playing a character who’s not supposed to be likable? Sebastian Stan: Well, you can’t really judge a character. You have to let that go, and you have to try to understand why they do the things they do; I’m not sure I really did to this day. I had to find something based on the interview and the way it was written, and remember that the movie is also told from Tonya’s perspective. In Tonya’s perspective, Jeff was portrayed in all these ways. In the end, I kind of just tried looking at it as a toxic love story of sorts, that involved two people who were unfortunately matched because of their upbringing, and whose relationship became more damaging and unhealthy with the more fame that she gained. Especially with him, it seemed in the script, at least—and he denies this part—but in the script it seems that he was always playing this balancing act between actually being really sweet, and then also being extremely violent. It was trying to find that balance, find middle ground, and that’s about tone within the movie. We really worked hard in terms of finding the right amount of violence, versus making the movie over-the-top where it alienates the audience. At the same time, it’s not a slapstick comedy either, where you’re just not taking anything seriously.

VICE: You’re actually playing two versions of Jeff: the ‘present’ version, removed from what happened 20 years ago with the incident, and then the version playing that story out in real time. How do you approach playing two different versions of the same guy? Sebastian Stan: You have to look at it like a detective: you gather all the facts and you lay them all out in front of you, and then you objectively look at it and connect the dots a little bit, and try to put together a life. That’s one of the reasons I wanted to meet with him, because I didn’t know what he was like when he was in his 20s, and I didn’t know what he was like now. I knew the footage that was out on him after and during the incident, but that was about it.

VICE: What was the experience like when you met the real Jeff? Sebastian Stan: It was a bit strange, because I had spent two-and-a-half months, or whatever, looking at him and hearing him every day. So, then you meet the person, and you sort of just do a lot of double-takes. It was informative on those particular issues. At the same time, I’m sure it must’ve been quite strange for him; I don’t think he ever really thought that somebody was going to play him someday.

VICE: The three principal players on this movie are yourself, Margot Robbie, and Allison Janney. What was it like to share the screen with those two in such strong roles? Sebastian Stan: I think they’re huge roles, absolutely, and they’re getting the attention that they deserve. I mean, it’s a very important relationship in the movie, between the two of them—it shapes the rest of her life, and I couldn’t picture anybody else doing it.

VICE: You have a couple scenes alongside both of them. What was that like? Sebastian Stan: It was great. I’ve always admired Allison in a million movies that she’s done, and she’s always been phenomenal. She was all those things in this movie: some of the takes, she would crack you up and start laughing. The end of the diner scene is pretty much that—she improvised something, and we had a genuine reaction to it. There’s other times when she’s very scary. You’re always in great company, and that’s always going to make you better.

VICE: You mentioned the 30 for 30 that was made. This is a well-known story—why is now the right time for the theatrical version? Sebastian Stan: I think when you see this movie, you’re going to find that it’s probably more relatable than you think, because of the times that we’re finding ourselves in, and the way that we continuously strive to be obsessed with celebrity and how we handle that. The way that social media works— media in general—hasn’t really changed since the 90s. There’s issues, obviously, in our country now about what it means to be a winner, and what it means to be a loser. All these things are still being dealt with, and I think the movie ends up landing in a very appropriate time. Also, the notion that sometimes one thing that can happen when somebody’s getting a lot of coverage, is that you become desensitized to it—you forget the humanity of the person, which is essentially what happened to her. So, when you see this movie, I think you gain a little bit more compassion for what she’s gone through, a little bit of what that experience must’ve been like.

[lovelesswiki]

Post-Moonless predictions— Ritsu and Nagisa (9/10)

previous part<–[here] –> next part

for the last week or so, i’ve been talking about a large theory i’ve been writing. since finishing it, i’ve decided to publish it in parts, since it’s actually about 10 different theories all on one subject. since it’s all written out, i’ll try to be publishing one part of this per day.

essentially, this is a set of theories about what i believe will have to happen in order to properly lead up to a climax–the one we’ve been building up to for years and years now. so, these are what i theorize will happen after the first moonless vs beloved battle, broken up into ten different parts. each theory is explained and theres images for each one.

table of contents (bolded is the post you’re looking at):

moonless and beloved will rematch (1)

soubi will fall into a deep depression and possibly become suicidal (2)

ritsuka will arrive at seven voices, SM’s activity will be revealed (3)

SM will reveal that there was a mole in their organization (4)

kio will be the one to take ritsuka to goura (5)

ritsuka will find things out about soubi and the aoyagi family (6)

SM’s true purpose will be revealed. ritsuka will have to make a decision about good vs evil (7)

seventh SM member will be revealed (8)

nagisa will find out what really happened to sanae (9)

ritsuka will be asked to join SM to fill the aoyagi seat (10)

Theory: nagisa will find out what actually happened to sanae and it will trigger a chain reaction that will leave ritsu disabled and completely alone in the world. 

while i said that ritsuka’s storyline with SM will be tied up, there’s still storylines within SM and between the council members that needs to be cleared up. one of the biggest ones is the relationship and bad blood between ritsu and nagisa.

i often seen ritsu and nagisa’s relationship being portrayed very badly and incorrectly. nagisa is absolutely not head-over-heels in love with ritsu. she is using ritsu as a replacement for something she once lost, something that when she lost it, it left her feeling very alone, empty, and abandoned. nagisa even tells natsuo this, stating that she does not love ritsu, but they’re mutually using each other, and she’s doing it so she can feel less empty and alone inside. nagisa even goes on to say that she hates ritsu partially for his part in losing the thing that meant everything to her, and i dont really think this is nagisa being dramatic.

(i dont know what you think a loving relationship is, even one-sided, but it’s not this.)

nagisa and ritsu’s relationship is not a healthy one. it will never be a healthy one. theyre both using each other. nagisa knows and admits this. one side is a narcissist who’s been horribly obsessed with a woman for the past 25 years and the other side is a woman who has never been able to let go of a death and has gone as far as human experimentation to try to fix the void that she feels. their relationship is shown to be horrible, even if it’s played mostly for comedy, with ritsu purposefully hurting nagisa to get a rise out of her and nagisa being thrown into a violent, screaming rage around him.

(mostly played for laughs, but actually kind of concerning when you think about it.)

even during the scene where nagisa discovers ritsu’s injury, she has a complete breakdown in which she screams about being terrified of being left alone again and begs ritsu and natsuo and youji to not leave her.

nagisa is still deeply affected by death. it seems to affect everything she does. she even created a child in the image of her deceased sister to ease the pain and then tried to throw him away when it didn’t work.

in the chapters showing nagisa and sanae’s life before sanae’s death, nagisa is very focused on sanae. it does seem to be a healthy sibling relationship, unlike that of the aoyagi brothers, even if nagisa is a bit overprotective. nagisa states that sanae was the center of her universe. i dont know what the sagan sisters’ home lives were like when they were kids, but if nagisa was treated anything like how she treats natsuo and youji, then it wasn’t good and it would make sense why she was hurting so badly afterwards.

and then, sanae died, and nagisa blamed a lot of people. she blamed akio for strange reasons and by extension her son, soubi, and she blamed ritsu to a lesser degree. i have no doubt that she also blamed (blames) herself, as well, and is slightly projecting that hate onto other people.

(nagisa very often splits on people and goes from idolizing them to hating them and back and forth. she also has extremely unregulated emotions. more on that in a different post about mental health.)

from the way sanae died, it’s very heavily implied to be a suspicious death. she cant swim, but she also drowned in knee-deep water and seems to have been held under by something/someone. while others may not agree, i do strongly suspect that it was ritsu who drowned her.

(knee deep water...?)

nothing else really makes sense to me. no one else has a motive. nagisa didnt have a motive and neither did akio, who didnt seem to know who took her ring and doesn’t appear to have the personality of someone who would murder a child for it. nagisa loved her sister dearly and none of the other students seemed to have an issue with her, though they did know about her real personality. the only person who wanted to get rid of her was her sacrifice, ritsu, and as an adult, he is incredibly dismissive of her death. he was annoyed with her presence, didn’t seem to like her as a fighter, and she had made him irrationally angry by playing a (admittedly harsh) prank on someone he fell in love with. furthermore, she seemed to have dropped the ring by accident when he yelled at her and didn’t appear to have purposefully lost it. even if he didn’t kill her, he logically knew that she couldn’t swim, as the sagan sisters and he were childhood friends, and willingly walked away from her while she was in water. regardless, he does seem to be keeping secrets about her death and everything surrounding it is incredibly suspicious. 

nagisa and ritsu have a very unhealthy, turbulent relationship as is, and i dont see anything fixing this. nagisa holds onto ritsu because hes the only connection she has left to her dead sister and ritsu holds onto nagisa because he has a need to control everything and everyone around him, and nagisa is easy to control. they both enable and hurt each other, and even if ritsu wasnt the one to drown her, i heavily suspect that ritsu is keeping secrets about sanae’s death from her.

the turning point in their relationship will be when nagisa finds out these secrets, whether he did murder sanae or if there was just something extra he wasn’t telling her. personally, i think this will be the only way that nagisa realizes that ritsu is horrible to her and for her and that hes not filling the void that sanae left behind. it’ll cause another breakdown in her, but the anger at him keeping an important thing from her for the past 20+ years will finally cause her to break things off with him and distance herself. maybe she’ll realize that she has a better friend/relationship in seven and still has a chance at a social life. im unsure.

what’s important is that this will set off another chain reaction. her leaving ritsu alone will… essentially leave ritsu with no one. no matter what he does, soubi doesnt want anything to do with him and wont come back (not that he can anyways, since timeline-wise at this point he’s still with seimei). he doesnt appear to have any family. he doesnt seem to have any friends or drove them all away. and now nagisa, the only piece of control he had left, distances herself from him. while i dont believe ritsu will change or anything, he will be left alone, blind and no longer in control of anyone or anything, and he might finally get what he deserves through this.

furthermore, though, this will further cause the breakdown of the council with one member having kept secrets from another member for over twenty years. ritsu will struggle for control back, which will cause further dysfunction, and nagisa will stop wanting to have anything to do with him, and may even avoid him. thats two members out of seven (six, really) who won’t want anything to do with each other, one of which will be desperately struggling for power.

what i’m saying here is that i’m pretty sure at this point, the council is doomed to completely fall apart, and there’s really only one thing that will properly fix it, or even has the possibility to.

[couldbelesmiserables]

Okay, as someone who uses mobile 90% of the time and is lazy af when it comes to clicking links, I’m going to summarize the article and talk about the parts that I think are important.

The interviewer originally talks about how this backstory has been a long time coming, and was originally written into earlier seasons and episodes. They ask what were initial conversations about Shiro’s sexuality like? Lauren Montgomery talks about how the original backstory was meant to be aired all the way back in season two. Shiro being LGBTQ+ was always part of the plan, and they wanted to simply portray this as a part of who he was rather than to base most of his backstory off of it. Most of Shiro’s backstory was about his illness and his role at the garrison, not his sexuality. Joaquim Dos Santos says that they received pushback from the executive level regarding Shiro’s (and some of the other paladin’s) backstories. But the team pushed for it.

The next question is about why LGBTQ+ characters are having a hard time finding representation on entertainment geared towards kids. The answers talk about how animation is a weird media- there’s comedy and drama together, kids and adults alike watch this, theres also the social/compelling stories aspects vs the traditional cartoonish and action-packed nature of animation. My favorite part of this is probably when Dos Santos says “You get into this weird space where there’s a lot of people — not everyone, obviously — who get really freaked out whenever people try to be more progressive in things that their kids are watching”. This is important. Voltron has a vast older fan base because it’s a remake, and adults are paying attention to it. They care about the messages kids are getting, and Dreamworks is very, very aware of this due to it’s specific niche in the animation industry.

Next up, the interviewer asks about being on Netflix opposed to cable networks. Montgomery and Dos Santos talk about how not giving advertisers a voice in the show is immensely helpful, and how the show can have a more advanced narrative and more complicated plots when its in order. What they don’t talk about is that Netflix also airs in countries where homophobia is extreme and dangerous. We as viewers must pay attention to this fact.

The next question is what I had been waiting for during this whole interview. It’s about moments in Legend if Korra and Steven Universe pushing the boundaries of what is acceptable for this show’s medium (animation). I’m just going to copy and paste some of what they said, because it’s important.

“DOS SANTOS: (...) If our show or Steven Universe or Legend of Korra helps a kid who’s dealing with these feelings and emotions but can’t express them within their family dynamic, maybe that just allows them to feel comfortable — having those feelings and then sharing them with friends, sharing them with an online community.

MONTGOMERY: There’s gotta be a first for everything, there’s gotta be those first few people that push for that representation (...) ideally we’d love to get to a place where it’s very normal and very acceptable to see this represented as what it is, which is normal and acceptable.

DOS SANTOS: I think one of the other things that we approached it from is that Shiro being gay is not the defining characteristic of Shiro. It’s one aspect. He’s in a relationship. I think the more defining characteristic there is that he was struggling with choosing his job and the mission over his relationship and that’s really a defining character moment. We don’t want to pitch this as a gimmick of representation. It’s an aspect of Shiro but it’s not his defining aspect.”

They move on to talking about how they’d said earlier some stuff about meeting with executives and fighting for the stories they wanted to tell. They respond by talking about how changing the original material of the ‘84 show is always very difficult, how the franchise potential has a lot of eyes on it, how it’s definitely discussed behind the team’s backs, and how they’re grateful the studio got behind their backs and supports it and that fans initial reaction to Shiro and Adam was vastly positive.

The studio supports it. They’ve also received emails from executives thanking them for this. This, to me, seems to mean that Netflix itself is most of what’s holding us back from accurate representation because of it’s global audience which makes it have to be wary of the presence of homophobic violence around the world. The fact is that Netflix as a company is probably currently in a position where it’s being forced to chose between giving audiences in progressive countries the representation they want and loosing business in homophobic locations. Capitalism is shitty. We, as a fandom, may be upset and disappointed but if we don’t reward Netflix for the representation that we received it won’t have been worth it for them as a company to allow Shiro to keep his sexual identity. We as a fandom may be single-handedly setting back the animation industry and Netflix’s acceptance of LGBTQ+ characters.

Here’s some recommendations on what we as a fandom can do to show our support: rate Voltron positively on Netflix and off, recommend watching Voltron to anyone you think would like it, @ Netflix, Dreamworks and the Voltron team in thank you or other positive posts (I am fairly certain they have a tumblr), and probably most importantly- give Season 8 a chance. This does not mean not to constructively criticize the show, but to think carefully on the ramifications of everything we do and say.

The interview also goes on to talk about Pidge’s reveal that she was disguised as a boy and how it’s representative of coming out and struggling with identity, especially Coran and Allura’s lines regarding it because of their removed POVs as literal aliens. The future regarding progression of the animation industry is also talked about.

I think that this interview about LGBTQ+ rep following Shiro’s sexuality’s reveal is an essential read for ALL members of the Voltron fandom atm.

[oswednesday]

i really like until dawn as a game but the way the characters are portrayed is so awful. and the fact that everyone can survive except the psychotic kid. no matter what josh dies and then theres the entire sanitarium thing. they really hate anyone whos not white, male, and neurotypical.

right omg like the game went through Developement Hell where there was a bunch of different concepts that got scarped so something that was 1:1 a campy slasher horror got reskined with like modern horror theres a huuuuge difference between like dusk til dawn or like puppet combo stuff and until dawn even though they start at the same places, they ask the player to consider their psycology, we play as josh for act one, we are josh, and instead of continuing to be josh after the reveal (what would have been an inutivite game design) we are sent to mike the rest of the game and the other characters for like two seconds, its illogical in a way thats immersion breaking how are we seeing joshs innerworkins and not mikes? not jessicas? ect like, the sanitarium is under written, josh had a clear connection to it and sam basically runs to where that area starts and she has the strongest connection to josh she doesnt participate in the prank and is the only one who makes a vague attempt he also treats her weird so its like a moral event horizone, she should be the one to have discovered the sanitarium and the sanitarium should have been the vehicle to reveal josh’s mental state and to where we’re introduced in universe to dr hill lore

instead they literally break the games grounding and pacing and game mechanics to give mike these big hero scenes in the sanitorium, as cool as the finger cutting scene is thats something sam could have done, mike(and jessica if she lives) could have explore the mines leaving the top side of the mountain to matt and emily, but as tons of people pointed out long before i finsihed it, its weak writing to have them all spread out before the big josh reveal and ill add to that Fandom Sentiment to say its weak writing that the focus was moved so hard off the cause of the deaths and into like an action adventure where theres one cause

omg this is getting long! i think they tried to replicate a lot of 80s tropes which like, yeah, like man of medan is waaay better in a lot of regards you can even ditch conrad or get him with in the first 30 mins so what little criticism there was they listened to it! from what i could tell just seeing one playthrough of it! its mostly like, the fandom around ud is intense like the wiki mods refuse to have a possible mike death on the ways to kill these fuckers page at None canonical and have him listed as an important character crucial to the game like,,,they all are dgd

[monoshah]

This is a Selfish Post- Part 1.5

Amongst the many obscene feelings we feel, a very common one is the feeling that time is passing too fast. That, life is passing us by and we’re just..watching.

In fact, the Dictionary of Obscure sorrows has a specific word for this feeling- Zenosyne: the sense that time is going too fast.

Think about it- the last time I wrote this post, it was the start of 2017 and now, we’re already six months in.

So, to make this law of universe seem a little sane, I use my selfish posts as a way to stop and reflect.

The past six months have been pretty eventful and I’ve had the fortunate opportunity to learn a ton, not just form things that happened to me, but, from the people I met.

Here’s a list of those lessons (ps- if you’re a little confused about this title and not sure what its about, I’d suggest starting with the first part).

- All of our problems are so trivial (and so are we):  For the past six months, I had the privilege to live in Sevilla, Spain, for an internship experience. Rest assured, I did not know a word of Spanish, nor was I aware of the Spanish culture. And, although this may seem “irresponsible”, living in a foreign country with new people who speak a language you don’t quite understand fully made me learn something- that, at the end of the day, the problems we face are so trivial. Additionally, this made me realize how small we are; we are just a tiny dot in a circle populated by dots. Now, whenever I feel too “closed up” from my mind, I remind myself this and it helps me open up.  After reading about this a bit more, I found out that The Stoics practiced a similar exercise, it was called “the view from above” and you can watch the video here. 

- Thinking about the “What ifs” may not kill you after all: During my time in Spain, there were so many things I was asked to do, that, normally, I’d say no to because of fear. For instance- on my first weekend, a couple of people from work asked me to go out clubbing with them. Now, I’m very socially anxious and awkward (hey, I write ok!), and find the whole clubbing scene pretty bizarre. And so, when I received this invitation, my mind automatically started producing excuses for not showing up, additionally, it also convinced me how everything would go wrong if I decided to go out. However, instead of solely thinking about failure, I asked myself- “Ok, maybe everything could go wrong and you’d be the most socially awkward guy out there. But- what if, just what if, everything went right for once? What if you actually enjoyed yourself tonight?” . And guess what? I had a pretty good night. I took a similar approach to other opportunities I’d automatically say no to- going away for the weekend, traveling, etc.

Further, this made me curious- why do we think what we think? Why do I, for instance, automatically think about negative things whenever someone asks me to go out clubbing? After reading some books about it I found out that there these automatically patterns are related to things that happened in our past, and, they directly influence our mood. This is why I always felt so depressed when someone mentioned clubbing.

I wrote a post about it (you can read it here).

- We don’t need a lot of money to thrive: The topic of money has always fascinated me, since, by nature, we do so much to gain more: shy away from our initial passions, hold onto toxic relationships, and countless other things that can negatively impact our character. And, since forever, the phrase “that’s how the world works, so get used to it” has been instilled in our minds.

However, what if i told you that you did have the option of not basing your entire life to gain as much money as possible? What if you did have a choice to stay sane, do what you love for a living, thrive, and not worry too much about gaining more money?

During my time in Spain, as an intern, I earned about eighty three cents an hour. That added up to about 200 euros a month, which, compared to America, is nothing. However, I learned that if we wisely distinguish between the things we really need vs things we want, we can not only thrive with less but also improve ourselves in the process without sacrificing a lot. I learned that it all comes down to one question- apart from the basic necessities, what things or services matter to us? So, instead of allocating thirty euros a month on clothes, I allocated the same amount to buying books. Why? Because they give me value.

Further, I read a book that changed my perspective about the psychology of Money. Its called “How to worry less about Money” and is written by John Armstrong. Whether or not money is a worry for you, I recommend this to everyone. It discusses the whole psychology of money and makes us ask important questions like “How much money do we really need (hint- the answer isn’t “as much as possible’).   It also takes a very different approach to discussing what money essentially is, making the readers see the real picture, so, we’re not as intimidated by the topic.

-  Our emotions can be managed: At the start of this year, I started reading a book called Emotional intelligence, written by a psychologist named Daniel Goleman. This book taught me everything there is to know about emotions- what are they, why they are the way they are, and how we can manage them.Further, it also made me understand that today,whether or not one is “smart”, being emotionally intelligent is more important. Why? Not only to live in harmony with everyone, but, to also understand ourselves and our automatic patterns of thought and feeling.

More practically, this book helped me thrive at work, since, I was better able to manage my mood. It also affected my personal life as I got more kinder with the people around me.

Theres a lot to cover here so I wrote a detailed post about it here and here. 

- Crushes are delusional: In December last year, I decided to read more about love. Why? Well, Victor Frankyl’s words about love fascinated me:

“For the first time in my life I saw the truth as it is set into song by so many poets, proclaimed as the final wisdom by so many thinkers. The truth - that Love is the ultimate and highest goal to which man can aspire. Then I grasped the meaning of the greatest secret that human poetry and human thought and belief have to impart: The salvation of man is through love and in love.”

I wanted to find out- is love really that great? I mean sure, the honeymoon phase is wonderful but what after that? What happens to couples who want to live their lives together? I wondered if there’s a reason why romantic comedies and love stories end when the boy and the girl meet and kiss. The  chase is great, but, real life is after that isn’t it?

So, following that, I read a ton of books- both fiction and non fiction, about love. And, I learned the following things: >We’re all lonely and begging to be understood by someone, and so, we all need love >Jane Austen’s novels were remarkably useful. From It I learned never to judge someone at first sight, especially from just their physical appearance and/or portrayed wealth.   >Life is unfair: Following my second observation, in today’s society, we do judge people by their appearance. Think about it- we go to a club and the only people we notice are the good looking ones. There’s no time for us to sit down with someone and ask them about their story, their vices. No wonder why we’re so focused on exercising our bodies and don’t bother taking care of our minds.

Despite that, however, reading about love is like reading about learning how to swim. Thus, to make things more interesting, I engaged in  deep journaling session whenever I felt attracted to someone. I tried to rationalize the reasons for my crush. And, surprisingly, my reasons were irrational. I learned that when we’re attracted to someone, we let the heart take over. And, although thats great for an actor working on a movie or a writer, writing a love story, for us, in reality, its not that great because it makes us delusional. From their blue eyes to the way they tie their hair.,every thing they do or are makes us believe that they are the one. That this is it, that, it couldn’t get any better.

Unfortunately, that’s not real.  We’re essentially attracted to someone who in reality, isn’t what we think he/she is.

You can read more about this here.

- We will never find the “right” person to marry: Why? Because we ourselves don’t know who we need/ who this “right” individual is.  This may sound a little cliche and if that makes you critical about that statement, I request you to think about it again.

I learned that by nature, none of us truly understand ourselves. We feel emotions and think thoughts we don’t quite understand the reasons for. This is exactly why life seems so “messy”, because we’re trying to understand the world and hack it, while at the same time, struggling to make sense of ourselves.

Then, we find someone who our delusional self thinks is “the right one” and we try to understand them, fully believing after some years that we do.

The goal then, other than striving to achieve a more Socratic level of self knowledge is to stop considering each and everyone partner as the “right one” and instead- acknowledging that because of the unfortunate reality that we don’t really know what kind of person we need, relationships are bound to be messy. And, once the romantic honeymoon phase is over, maintaining a relationship is an art, something that we need to learn.

I repeat- something that we need to learn (here’s a good start).

Here’s The Philosopher Alain De Botton in his popular article “Why you will marry the wrong person” written for the New York Times:

“Marriage ends up as a hopeful, generous, infinitely kind gamble taken by two people who don’t know yet who they are or who the other might be, binding themselves to a future they cannot conceive of and have carefully avoided investigating”

You can read the entire article here.

If you’re intrigued by this concept, I suggest reading this book.

- A hack for overcoming Shyness:I am pretty social anxious and this makes many things difficult as most of life is interacting and dealing with people. Going to networking events needs a lot of planning and courage. And, if you want to convince me to go out clubbing, you need to have the patience to deal with my stupid excuses (trust me, I’m pretty good).

However, being in Spain exposed me to my fear. The Spanish culture admires social relationships and it’s actually considered normal for people to go out clubbing from Wednesday nights. So, as I went out multiple times with my friends, I noticed how I started becoming less anxious. So much so, the initial automatic flow of negative thoughts stopped, whenever someone invited me for a night out.

I wanted to make this a little more concrete and just in time, I was fortunate enough to read something about shyness that made it seem so trivial; cosmopolitism- a new way of relating to strangers.

The concept emerged during the several encounters in the Greece and Rome civilization. Because these encounters were between people who lived very different lives, certain thinkers developed an approach which proposed that all these humans, whatever their surface variations, shared a common core- that they’re all human.

Here’s The School Of Life in the book “On Being Nice”:

Someone becomes a cosmopolitan not on the basis of having a buoyant or gregarious nature but because they re in touch with a fundamental truth about humanity, because they know that, irrespective of appearance, we are the same species beneath, an insight that tongue-tied guest at the party or the awkward seducer in the restaurant are guilty of implicitly refusing./ /The Pimple boy doesn’t discover that he and the high-school beauty share a case in humor and similarly painful relationships with their fathers; the middle-aged lawyers never unearths a shared love of rockets with her neighbor’s eight year old son. Race and ages continue not to mingle, to their collective detriments. Shyness is a touching, yet ultimately excessive and unwarranted, way of feeling special.

Here’s a great video by The School of life that explains this concept.

Lastly, here’s the book I was referring to (it’s great if you’ve ever wondered what it really means to be “nice”).

- Making time vs Having time: Despite the idea that life is pretty unfair, there is something about it that proves otherwise- the fact that we’ve all been given 24 hours in a day. That is, time to do anything we’d like to do. Its a clean slate and we can fill it in anyway we want to.  However, despite knowing this, we don’t spend enough time for self-care.

The past six months I’ve learned a lot of self-care: the whole idea of prioritizing daily activities for yourself that help provide value. In my life, that involves working out five times a week, meditating daily, and reading and writing everyday. I learned that engaging in activities that bring us value doesn’t mean acting selfish. In reality, we’re doing it to make ourselves feel better, which, in a very real sense will help us deal with everyone else calmly. So, if you really think about it, self-care isn’t just for us, its for the people we engage with daily, our family & friends.

It was fascinating to see how my mood was different when I did not work-out in the morning that day, or, if I forgot to mediate. So, for self-care, one has to make time because these things are what’s really important. The rest is trivial.

How about you substitute thirty minutes of TV with a high intensity interval training session? You don’t have time to Meditate? Those extra ten minutes you spent surfing YouTube for cat videos are sufficient to take care of your mind.

Make a list of everything that gives you value and include them in your morning or evening routine. Its not important to check every activity off but the attempt is what makes all the difference.

-Saying “No” is harder for a reason: With the Spanish culture being so outgoing, it was necessary for me to learn how to say “No”. Saying no to partying every weekend, no to travelling every weekend, no to skipping work and taking long coffee breaks. However, more than it being necessary, I noticed how hard it was. I started observing how I started saying “Yes” to things I’d normally want to say no to, just to avoid conflict or get away with it. So much so, I’d started dreading my decision an hour after I accepted a House Party invitation.

Then, for a week, I decided to experiment. In it, I promised myself to do everything opposite. So, if I’d automatically say Yes to things, for this one week, I would have to gather the courage to say no. Fortunately, that week helped me understand that not only is it ok to say not, but, to some extent, it’s necessary to have boundaries.

One week turned into one month and slowly I started really thinking about every invitation. And, if I had a legitimate reason to not attend, I’d happily say no without any guilt or the fear of missing out.

I learned that it’s harder to say no because when we do that, we’re actually saying yes to things that matter to us. Things that grant us value. I said no to a skiing trip with my work friends because I was saying yes to a weekend trip to Barcelona with my best friend. I said no to a Wednesday night partying invite because I was saying yes to the next day’s gym session. I said no to becoming the president of a club at my college because I was saying Yes to other things I’d be focusing on- academics, acting, a part-time job, etc.

-If you master the small, the big picture takes care of itself: I learned to apply this concept everywhere in my life- productivity, becoming fear(less) (not fearless, there’s a difference), and habit setting. Normally, when we think of becoming productive, getting over our fears, or forming new habits, our goals automatically become so grand.

So much so, it overwhelms us and we don’t do anything. I learned that if we focus too much on the big picture, we forget what shapes it- smaller details. And, so, similarly, we forget that by taking care of the smaller details, the grand picture can be influenced.

To give you an example in the area of becoming fear(less), I am very scared of driving in India. When I tried to give my practical exam a couple of years ago, I couldn’t even move the car forward (even if thats what it took to pass the exam). My confidence while driving a motor vehicle is very low. However, the concept of breaking this down into smaller details and goals is helping me get back on track again. Instead of dreaming about becoming the perfect driver with a valid license,  I started to break the ultimate goal down into smaller steps (that, if followed properly, will eventually get me there).

The first goal was to obtain a learners license, which required me to study for it while I was in Spain. Once I passed that, my goal was simply to trust the process and visit my driving school everyday to learn things about driving confidently. And, once that has been done, I will start practicing driving on roads. The goal being that I can practice everyday to build my confidence. Ultimately, the plan is to obtain a license right now and then resuming my practice whenever I am back home for holidays.

You get the idea.

- Unfairness is everywhere (and that’s OK): Pretty recently, I lost a loved one and I couldn’t help but notice how, after a few days, life just went on for everyone. It reminded me that everything is so trivial because at the end of the day, we have the possibility of leaving life right this very moment. And guess what? Once you do, people close to you will feel bad. Of course they will. However, as times goes on, so will life. And just like another old book in the shelf, your time will be over. We will all return to where we came from and to some degree I find that pretty unfair. Life has a way of convincing us to move on.

I learned that life is unfair, and the sooner we get used to it the better. Why? Because it can help us stay sane. When we achieve some sort of success, for example, this can remind us to stay grounded as whether we like it or not- success is not fully in our control. And here’s the better part- this can show us how to rate ourselves, not by success’ or failures, but, by doing what’s in our control everyday.

Ryan Holiday described this perfectly in his book Ego is the Enemy:

Your potential, the absolute best you’re capable of—that’s the metric to measure yourself against. Your standards are. Winning is not enough. People can get lucky and win. People can be assholes and win. Anyone can win. But not everyone is the best possible version of themselves.

- Engaging in premeditatio malorum helps: Before I started Meditating everyday, I used to be extremely anxious. It would require a lot of effort from my side to do everyday things like going on a holiday for instance. I would overthink the worst that would happen in every scenario, making me naturally upset and pissed off.

Fortunately, meditation helped me calm down. That said, however, I still find myself tensing over things I cannot control.To fight this, I learned to engage in an exercise that used to be practiced by The Stoics. Its called premeditatio malorum, which roughly translates to premeditating about evil/ admittedly visualizing negative situations. Basically, it means thinking (or better- writing) about possibly everything that could go wrong.

Then, once you have a list, think about how you could possibly avoid such disasters and/or realize that at the end of the day, in reality, regardless of how bad things get, life is going to be ok.

Its basically a “what’s the worst that could happen?” exercise.

I journaled about this whenever there was something that was troubling me and it helped. I realized that 1) not everything we think is going to happen. Infact, most of the times, nothing we think every happens and 2) Even if something does happen, by meditating about it previously, our approach to dealing with it is better.

You can read more about this here.

Further, Tim Ferris had an excellent TED talk about this, wherein, he spoke about how he used this exercise to become fear(less) about life. You can watch that here.

Productivity is simple: No, I mean it. Stop spending hours trying to find the perfect app. Getting work done doesn’t require sophisticated code and good design (it helps, yes, but they’re not necessary).

It requires principles. 

I wrote about this here. 

Things I’m going to experiment with, henceforth:

- Expressing my emotions: To not bottle things up inside - Using the “shyness hack” I described above to speak out - Journaling on a regular basis (daily- either in the morning or evening) - Learning more about relationships - Reading more about Stoicism and using this website to gain knowledge daily: How To Be Stoic

- Seeking Love and Courage. Love for anything that happens in life and the courage to face it. Source- The Daily Stoic newsletter (you can sign up here). 

That’s all for now Folks

To focus a little more on my writing projects, I’m going to be taking a break from writing on my blog till the end of this year.

That said, I will keep updating my Facebook page in case I write any guest posts.

I don’t reckon anyone made it this far, but regardless- Thank you for all your love and support.

See y’all on the other side :)

[dvpcarsoncahoon-blog]

Week 3 - 3rd October

Lighting and Cinematography

Lighting

Below is an example of how 3 point lighting works. 3 point lighting is the standard set up for video production. 

The key light is the main light and therefore would usually be the strongest light. The fill light is usually placed opposite of the key light, the fill light would usually create the shadows from the key light. The back light is used to help separate the person/object from the background and make them more defined.

(fig.1 3 point lighting)

In class we had a task of taking photographs and trying to replicate a photograph from ‘The Godfather’

(fig.2 The GodFather)

This is one of the most iconic image in ‘The Godfather’ and all of cinematography. We had to recreate images like this and apply a black and white filter in order to change the ‘feeling’ of the picture.

These are the photographs that was take in class, yes they are all different and not exactly the same as the one from ‘The Godfather’ but they still convey a certain message when deconstructed.

We also had some other tasks to complete outside of class.

Cinematography

Cinematography is the term used for a Cinema Photographer, this means a photographer taking photographs with a film. The Cinema Photographer would usually be referred to the Director of Photography (DP or DoP).

Cinematography was heavily influenced by Rembrandt, Rembrandt was regarded as the master of light and shadow. Rembrandt used the chiaroscuro technique and this technique has had major influence on important lighting/cameramen in cinema history.

Chiaroscuro, which is Italian for clear-dark, is a term in art for a contrast between light dark.

Another group that we looked at when looking at dark and light was the Dutch Masters. The Dutch Masters was group of artists from the 17th century that used light as if it was alive, they wanted it to change the way people would look at art and it set the standard for what the camera would have to achieve. A famous painter from this group is Caravaggio

Task 1 - Written review

Martin Scorsese is one of the most well known directors/producers in the film industry and has produced iconic movies like ‘Taxi Driver’, ‘Goodfellas’ and ‘The Departed’. Movies like, ‘Goodfellas’ and ‘The Departed’, was heavily influenced by Scorsese’s up bring and because he was of Italian decent the Italian mafia features heavily in these films; but also Caravaggio influenced his films and shots within the films.

In an interview for the BBC in 2011, Scorsese states many points about Caravaggio and his paintings. Scorsese says “I love colour in film, but black and white is also a colour...” , this signifies to me that in Scorsese’s mind while colour can help make a move better, black and white have their own part to play; but also that using light and dark can create something more than a scene or image within a film.

Scorsese goes on to say that the people used within Caravaggio’s paintings wasn't just there to be in a paint but they were actual living people and because of this the painting became more powerful and direct “... I felt an infinity with the work because they didn't seem like the usual model from the renaissance, these were people who were really living life, it was direct and powerful that way...”. This signifies to me that Scorsese believes that by using light and dark, it makes the people in the painting more humanlike.

Although in a less serious tone Scorsese says that if he had’ve lived in the 17th century he would've been a painter and if Caravaggio had’ve lived in the 20th century he would've been a director; “... theres no doubt about it, it definitely would've been more painting than theatre... he would've been a great film maker, there’s no doubt about it”. To me this signifies that overall painting and film making are very much the same, as the artist/director is trying to tell a story from their mind, so every little detail can affect the outcome.

Task 2 - Rembrandt & Caravaggio Paintings

(Fig 3) Rembrandt - The Night Watch

This painting is called ‘The Night Watch’ and it features a company of militia men that come to their city’s need in the time of violence. The men are forming up getting ready to do something, it can be seen from all the commotion of grabbing their equipment.

This painting is considered one of the Rembrandt’s most famous painting and the peak of the Dutch Golden Age. The shot includes the company’s most important the men, the leader Captain Frans Banning Cocq (red sash) and his lieutenant, Willem van Ruytenburch (white sash). Both of these men have a bright light shining down on them but this is just a typical use from Rembrandt. 

From a cinematography point of view this painting would be a medium long shot. The framing of it makes the objects within about half the size of the frame which would coincide with a medium long shot.

I think Rembrandt framed it like this to place emphasis on the men and with the lighting it helps reinforce this. This painting looks like who been produced in the middle of the action and this is what Rembrandt wanted to achieve. The shadows look real and the lighting has been applied in a realistic way. Over all this would be a perfect example to show off realism within art.

(Fig 4) Caravaggio - The Calling of St Matthew

The Calling of St Matthew is one of Caravaggio’s most well known paintings and like The Night Watch heavily features light and dark. Many would refer to Caravaggio as the master of light and dark and from this painting it is easy to see why he would be called this. The painting looks like a picture that was just taken, it shows the action happening but also implements the elements to show that it is real.

The painting is said to depict Matthew becoming an apostle. Matthew is supposed to be the man at the edge of the table on the left hand side, when the audience looks at the painting the light is shinning down on the man but also the other men are pointing their fingers at Matthew. The use of these elements makes it easy to depict the story of the painting which is what Caravaggio would want -  for the audience to understand what he's telling them.

Like The Night Watch the use of the light and dark make this painting look like it has actually happened. The framing is long shot, the objects within the scene are large taking up to almost 2/3rd of the frame. 

Task 3 - Jack Cardiff

(fig 5 screenshot Matter of Life and Death)

(fig 6 screenshot Matter of Life and Death)

These screenshots are from a Matter of life and Death, from these two screen shots from the opening sequence it is clear to see how lighting is being used to help portray the scene.

(fig 7 Black Narcissus)

These are screenshots from the opening sequence for Black Narcissus. The top screenshot shows a nun in a religious building. Although it is clear to see that she is a woman of religion, it is reinforced by the shade of a cross shining down on her from above. 

The screenshot beneath that is further on in the sequence and it shows a man talking. These screenshot was randomly taken within the sequence yet when you look at it, it could strike the audience as being a picture. If the audience didn't know any better it could easily be mistaken for a picture. This would be a good example of cinematography.

(fig 8 Black Narcissus)

Task 4

Johannes Vermeer

Johannes Vermeer is a renowned Dutch artist that was prominent during the Golden Age era of painting. Vermeer’s most famous paintings would be the View of Delft and Little Street. Vermeer was born and raised in Delft and therefore used his surroundings as an influence in his work.

In 1653 Vermeer joined the Delft Guild as a master painter, it is stated that Vermeer had a long lasting friendship with Leonard Bramer from whom he received his training from. Many scholars would also say that Vermeer was heavily influenced by Rembrandt’s painting style, as it would come to show in Vermeer’s paintings later on in life.

(fig 9 View of Delft Johannes Vermeer)

This is the ‘View of Delft’, it shows Delft from across the harbour but portrays it being as being strong and proud. The painting looks real, from the reflection of the water on the side of the boats in the harbour or from the different texture of the buildings in the city.

(fig 10 Little Street Johannes Vermeer)

This is ‘Little Street’, as you can see there is a lot of detail that has been put into the painting; the brick work of the building or the cobblestone road fading due to the amount of people walking on it. You can also see the sun starting to rise in the background just between the buildings. This was achieved through the use of lighting techniques that painters like Caravaggio or Rembrandt would have used and through the use of these techniques they bring the painting to life.

Tom Hunter

Tom hunter is an internationally & nationally renown photographer who has won many awards for his work. Hunter graduated from the London College of Printing in 1994. He received his first award, from Fuji Film, only 2 years later for his work ‘Travellers’ . 

Hunter has many other awards, his most recent would be an Honorary Fellowship from the University College Falmouth in 2012; he also became the only artist to have a single photograph shown in the National Gallery, this was from his series “Living in Hell and Other Stories” which talked about Hackney and its relationship with its local paper. Much of Hunters work is focused around his community in East London.

(fig 11 Travellers Tom Hunter)

(fig 12 Travellers Tom Hunter)

Theses photographs are from the “Travellers” series where Hunter and a group of his friends traveled Europe going to underground techno parties and festivals while living in refurbished vehicles . Hunter had taken these pictures as bright and colourful to try and let the public perceive these ‘Travellers’ in a different image. At the time the government and the press didn't agree with this subculture and would try and show them in a different light.

(fig 13 Living in Hell and Other Stories)

This image is from the series “Living in Hell and Other Stories” and it is about Hackney and it’s relationship with the local newspaper. The local newspaper wasn't free and wasn't doing well compared to free newspapers which were promoting good news. Therefore the paid newspaper started going with headlines that would attract the audience attention and make them want to buy the newspaper.

From these images it is clear to see how images can portray a story to the public and how they can affect the publics perception of things. If the ‘Travellers’ images were in black and white it would be easy to assume that they were victims.

References

amwpotter, (2014), 3 point lighting [ONLINE]. Available at: https://amwpotter4.files.wordpress.com/2014/02/3-point-lighting.png [Accessed 8 October 2016].

N/A, (1972), The Godfather Sitting [ONLINE]. Available at: http://3.darkroom.shortlist.com/980/823de5d39827ec0a835945e71315d06a:a3e42817901d57ad7fe8f607afdced43/615x330-tghero.jpg [Accessed 5 October 2016].

Rembrandt, (2016), The Night Watch [ONLINE]. Available at: http://www.rembrandthuis.nl/wp-content/uploads/2016/02/Rembrandt-The-Night-Watch-Rijksmuseum-Amsterdam-Rembrandt-House-Museum-1024x853.jpeg [Accessed 7 October 2016].

Caravaggio, (2016), The Calling of St Matthew [ONLINE]. Available at: http://images.mentalfloss.com/sites/default/files/styles/article_640x430/public/54jhj4hjk3.png [Accessed 7 October 2016].

Screen shot of Matter of Life or Death

Screen shot of Matter of Life or Death

Screen Shot of Black Narcissus

Screen Shot of Black Narcissus

Johannes Vermeer, (2016), View of Delft [ONLINE]. Available at: http://johannes-vermeer.org/images/paintings/view-of-delft.jpg [Accessed 8 October 2016].

Johannes Vermeer, (2016), Little Street [ONLINE]. Available at: http://johannes-vermeer.org/images/paintings/the-little-street.jpg [Accessed 8 October 2016].

Tom Hunter, (1996), Travellers [ONLINE]. Available at: http://www.tomhunter.org/website/wp-content/gallery/travellers/travellers-email-vii.jpg [Accessed 8 October 2016].

Tom Hunter, (1996), Travellers [ONLINE]. Available at: http://www.tomhunter.org/website/wp-content/gallery/travellers/thumbs/thumbs_travellers-email-vii.jpg [Accessed 8 October 2016]

Tom Hunter, (2003), Halloween Horror [ONLINE]. Available at: http://www.tomhunter.org/website/wp-content/gallery/living-in-hell-and-other-stories/halloween-horrors-2003-email.jpg [Accessed 8 October 2016].

Bibliography

Johannes Vermeer and his paintings. 2016. Johannes Vermeer and his paintings. [ONLINE] Available at: http://johannes-vermeer.org. [Accessed 24 November 2016].

Travellers | Tom Hunter. 2016. Travellers | Tom Hunter. [ONLINE] Available at: http://www.tomhunter.org/travellers/. [Accessed 24 November 2016].

Tom Hunter, (2003), Halloween Horror [ONLINE]. Available at: http://www.tomhunter.org/website/wp-content/gallery/living-in-hell-and-other-stories/halloween-horrors-2003-email.jpg [Accessed 8 October 2016].