#tina hirsch

[atomic-chronoscaph]

Munchies (1987)

[floripire]

this is an incredibly random ask & something i'm not sure if i've ever told you before but i just wanna say, i really really really love & appreciate your worldbuilding you do, not even just with flori but across all your blogs. the passion, the way you think of so many npcs, complete with fcs, to weave into your muses lives. & just the dedication generally you have to the smaller/background characters. like khione & eleusine - you've breathed such life into them. & your original characters too, of course. but just the way you make these characters & their canons feel so - real? & like idk i just love the work & dedication you have truly, it's something i enjoy every time i see it on my dash. i love going through & reading what i can, tbh multiple times i've gone down rabbit holes - just being lost in your worldbuilding tag(s)! you're literally doing an amazing job out here & i just - we love to see it, truly. i know we don't talk a whole ton but i am here silently admiring you & rooting you on, i hope you know that. & i hope you know how much your creative brain is appreciated <3

thank you so much, @theha1r, for the kind words! it means a lot! honestly, i've always loved minor characters because they have such potential and i find it fun to unearth that potential and turn it into something cool, together with all of my friends. shoutout to all of them, they know who they are! <3 and i think that's the beauty of it: a lot of my characters wouldn't be as well developed as they are right now, if i hadn't met the people i met across all of my blogs. truly though, this blog would not exist without arrow / @founderscouncil. i remember making a list of supernatural characters i wanted to write: some wolves, some vamps and a huntress. and then i saw arrow's dynamic's call for j/ed specifically: an inter-faction romeo and juliet type of thing where neither of their respective groups approve but they're drawn to each other anyway. and i was like: that dynamic is perfect for my new vamp baby! literally, it's been the fastest i ever came up with a fc + name + personality in my life. flori would not exist, as she exists right now, without arrow's j/ed and i will die on the hill that jedibeth is basically f/orwood 2.0. but it's not just j/ed. it's also loren bennett, arrow's take on a bennett daughter, shrouded in mystery. sincerely, i would have loved to watch a spin-off about loren figuring out life and who she is and where she came from and what her magic can do and then ultimately getting together with penelope ;) and then there is king's mia hirsch / @fellvespers. and mia is just a beautiful character study in regards to resilience. mia's story starts when people vanish on her. first, her parents and then, her uncle. and then things just go from bad to worse. mia's story is one of escaping harsh situations by the skin of your teeth and running towards the things and people you need, even if you don't yet know you need them. i also would have loved to see a mia spin-off, diving deeper into werewolf culture as a whole. reading king's writing across the board is just a masterclass in and of itself. flori loves mia and loren so much. in her eyes, this friendship saved her. they kept her upright through so much ranging from family drama to crushes drama. they are her heart and lungs as much as they are her backbone. mia, loren and flori are as much b/arolena 2.0. as h/ope, j/osie and l/izzie are imho. those three fit into this world so perfectly and i feel like they balance out the main l/egacies girls while still standing on their own. but i also want to give a seperate shoutout to tina / @troubleah because i never expected the leah and flori dynamic to blossom as it did but i am so glad it did. i think leah, unknowingly, became a dear friend and taught flori to not only make peace with what she became but to love it and to embrace it with open arms. and i also want to give a shoutout to z / @soulmateprinciple for not only writing a lot of the night world characters excellently but also for getting me into the night world books as a whole. they're very 90's and perfectly imperfect but i do so adore them and z for introducing me to them.

[burlveneer-music]

My WVUD playlist and stream, 3/18/2024

World Party - Ship of Fools World Party - Way Down Now World Party - Here Comes the Future Chu Kosaka - Music Guiding Star Orchestra - Planting Trees Tristesse Contemporaine - Rock This Town Alton Ellis - Your Heart Is Gonna Pay Happy End - Haruyo Koi (Come, Spring) Say She She - Entry Level Silky Steps - Music Air - Maggot Brain (Live at Paradiso, Amsterdam 31/10/1998) Air & Beth Hirsch - You Make It Easy Zero 7 - Home (feat. Tina Dico) The Twelve Hour Foundation - Creosote Four Tet - Skater Nathalie Joachim - Zetwal Jane Weaver - Romantic Worlds Jimi Tenor - Music for Mallet Instruments, Voices and Organ Cars from the Future - The Return Of Mr. Zigganoff Notilus - Long Voyage Ana Lua Caiano - O Bicho Anda Por Aí DJ Shadow - Witches Vs. Warlocks Apollo Suns - The Aeronaut Ghost-Note - Bad Knees Cut Capers - Spiral

[docrotten]

GREMLINS (1984) – Episode 250 – Decades Of Horror 1980s

“Ai-yah. You teach him to watch TV?” Do you mean there was a fourth rule? Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr, along with guest host Ralph Miller – as they take an effects-focused dive into Joe Dante’s Gremlins (1984).

Decades of Horror 1980s Episode 250 – Gremlins (1984)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1980s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A young man inadvertently breaks three important rules concerning his new pet and unleashes a horde of malevolently mischievous monsters on a small town.

  Director: Joe Dante

Writer: Chris Columbus

Produced by:

Michael Finnell (producer) (produced by)

Kathleen Kennedy (executive producer)

Frank Marshall (executive producer)

Steven Spielberg (executive producer)

Music by: Jerry Goldsmith

Cinematography by: John Hora (director of photography)

Editing by: Tina Hirsch

Casting By: Susan Arnold

Production Design by: James H. Spencer

Special Effects:

Chris Walas (creator: Gremlins) 

Bob MacDonald Jr. (special effects foreman)

R.A. MacDonald (special effects supervisor) (as Bob MacDonald Sr.)

Selected Cast:

Hoyt Axton as Randall Peltzer

John Louie as Chinese Boy

Keye Luke as Grandfather

Don Steele as Rockin’ Ricky Rialto (voice)

Susan Burgess as Little Girl

Scott Brady as Sheriff Frank

Arnie Moore as Pete’s Father

Corey Feldman as Pete

Harry Carey Jr. as Mr. Anderson

Zach Galligan as Billy

Dick Miller as Mr. Futterman

Phoebe Cates as Kate

Polly Holliday as Mrs. Deagle

Belinda Balaski as Mrs. Harris

Edward Andrews as Mr. Corben

Judge Reinhold as Gerald Hopkins

Chuck Jones as Mr. Jones

Glynn Turman as Roy Hanson

Tracy Wells as Schoolchild

Jonathan Banks as Deputy Brent

Frank Welker as Stripe / Mogwai / Gremlins (voice)

Howie Mandel as Gizmo (voice)

Fred Newman as Mogwai / Gremlins (voice)

Mark Dodson as Mogwai / Gremlins (voice)

Michael Winslow as Mogwai / Gremlins (voice)

Peter Cullen as Mogwai / Gremlins (voice)

Bob Bergen as Mogwai / Gremlins (voice) (as Bob Berger)

Michael Sheehan as Mogwai / Gremlins (voice) (as Mike Sheehan)

Bob Holt as Mogwai / Gremlins (voice)

Richard Carlson as Dr. Research (archive footage) (uncredited)

Jerry Goldsmith as Man in Telephone Booth Glancing at Camera (uncredited)

William Schallert as Father Bartlett (uncredited)

Steven Spielberg as Man in Electric Wheelchair (uncredited)

Kenneth Tobey as Mobil Gas Station Attendant (uncredited)

Effects artist Ralph Miller joins the Grue-Crew to add his experience working on Gremlin’s creature crew, led by Chris Walas, the designer of Mogwai and the gremlins. Though the crew focuses on the film’s effects, they also delve into the cast, cameos, crew, and behind-the-scenes stories. 

In July 2014, Doc Rotten and Thomas Mariani covered Gremlins before the Monster Movie Podcast became Decades of Horror 1980s. Check it what they had to say at this link: 

Monster Movie Podcast Episode 68 – Gremlins 1984

As of 21 January 2024, Gremlins is available for streaming from many PPV sites and on physical media in 4K Ultra HD and Blu-ray formats. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Jeff, will be Slaughterhouse (1987). They may need a shower after this one.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[double-croche1]

[BERLIN 2023] SÉLECTION

La Berlinale débute ce jeudi et se déroulera jusqu’au dimanche 26 février. Rendez-vous à partir de jeudi sur notre page dédiée pour suivre en direct notre couverture de cette édition ! COMPÉTITION Films datés : 08/03 : ‘Music’ d’Angela Schanelec 12/04 : ‘Suzume’ de Makoto Shinkai 19/04 : ‘Sur l’Adamant’ de Nicolas Philibert 03/05 : ‘Disco Boy’ de Giacomo Abbruzzese 06/09 : ‘Le Ciel Rouge’ de Christian Petzold 06/09 : ‘Le Grand Chariot’ de Phillipe Garrel 11/10 : ‘Mal Viver’ de João Canijo 13/12 : ‘The Survival of Kindness’ de Rolf de Heer 13/12 : ‘Nos vies d’avant’ de Celine Song 14/02/24 : ‘20 000 espèces d’abeilles’ d’Estibaliz Urresola Solaguren Films non datés : ‘Someday We’ll Tell Each Other Everything’ d’Emily Atef ‘Manodrome’ de John Trengove ‘Ingeborg Bachmann – Journey into the Desert’ de Margarethe Von Trotta ‘BlackBerry’ de Matt Johnson ‘Till the End of the Night’ de Christoph Hochhäusler ‘The Shadowless Tower’ de Zhang Lu ‘Limbo’ d’Ivan Sen ‘Art College 1994’ de Liu Jian ‘Tótem’ de Lila Avilés ENCOUNTERS Films datés : 11/10 : ‘Viver Mal’ de João Canijo 17/04/24 : ‘White Plastic Sky’ de Tibor Bánóczki et Sarolta Szabó Films non datés : ‘In Water’ de Hong Sang-soo ‘Orlando, ma biographie politique’ de Paul B. Preciado ‘The Adults’ de Dustin Guy Defa ‘The Echo’ de Tatiana Huezo ‘The Klezmer Project’ de Leandro Koch et Paloma Schachmann ‘Here’ de Bas Devos ‘In the Blind Spot’ d’Ayse Polat ‘The Cage Is Looking for a Bird’ de Malinka Mustaeva ‘Mon pire ennemi’ de Mehran Tamadon ‘Family Time’ de Tia Kuovo ‘The Walls of Bergamo’ de Stefano Savona ‘Samsara’ de Lois Patiño ‘Eastern Front’ de Vitaly Mansky et Yevhen Titarenko ‘Absence’ de Wu Lang PANORAMA Films datés : 28/06 : ‘Passages’ d’Ira Sachs 28/06 : ‘La Sirène’ de Spidah Farsi 05/07 : ‘Au cimetière de la pellicule’ de Thierno Souleymane Diallo 16/08 : ‘La Bête dans la jungle’ de Patric Chiha 23/08 : ‘Reality’ de Tina Satter 20/09 : ‘Silver Haze’ de Sacha Polak (DVD) 18/10 : ‘A l’intérieur’ de Vasilis Katsoupis 25/10 : ‘Sisi & I’ de Frauke Finsterwalder 29/11 : ‘Kokomo City’ de D. Smith Films non datés : ‘Perpetrator’ de Jennifer Reeder ‘Adversaire’ de Milad Alami ‘After’ d’Anthony Lapia ‘All the Colours of the World Are Between Black and White’ de Babatunde Apalowo ‘Al Murhagoon’ d’Amr Gamal ‘Ambush’ de Chhatrapal Ninawe ‘And, Towards Happy Alleys’ de Sreemoyee Singh ‘El Castillo’ de Martin Benchimoi ‘Do You Love Me?’ de Tonia Noyabrova ‘Drifter’ de Hannes Hirsch ‘The Eternal Memory’ de Maite Alberdi ‘Femme’ de Sam H. Freeman et Ng Choon Pin ‘Green Night’ de Han Shuai ‘Hello Darkness’ de Soda Jerk ‘Heroic’ de David Zonana ‘Joan Baez I Am a Noise’ de Karen O’Connor, Miri Navasky et Maeve O’Boyle ‘Matria’ d’Álvaro Gago ‘Property’ de Daniel Bandeira ‘Sages-femmes’ de Léa Fehner ‘Sira’ d’Apolline Traoré ‘Stams’ de Bernhard Braunstein ‘Stille Liv’ de Malene Choi ‘Transfarina’ de Joris Lachaise ‘The Teachers’ de Loungeİlker Çatak ‘Under the Sky of Damascus’ de Heba Khaled, Talal Derki et Ali Wajeeh BERLIN SPECIALS Films datés : 31/03 : ‘Kill Bok-soon’ de Byun Sung-hyun (Netflix) 07/04 : ‘Du tennis à la prison : l’histoire de Boris Becker Pt. 1’ d’Alex Gibney (AppleTV+) 07/06 : ‘Dernière nuit à Milan’ d’Andrea Di Stefano 26/07 : ‘La Main’ de Danny Philippou et Michael Philippou Films non datés : ‘Infinity Pool’ de Brandon Cronenberg ‘Laggiù qualcuno mi ama’ de Mario Martone ‘She Came to Me’ de Rebecca Miller ‘Superpower’ de Sean Penn et Aaron Kaufman ‘Golda’ de Guy Nattiv ‘Kiss the Future’ de Nenad Cicin-Sain ‘Loriots große Trickfilmrevue’ de Peter Geyer et Loriot ‘#Manhole’ de Kazuyoshi Kumakiri ‘Ming On’ de Soi Cheang ‘Seneca’ de Robert Schwentke ‘Sonne und Beton’ de David Wnendt ‘Der vermessene Mensch’ de Lars Kraume A&B

[juliakwinto]

Constructing the Image of Postmemory

by Tina Wasserman

...........

Rea Tajiri

reatajirifilm.com documentary film: History and Memory: For Akiko and Takeshige (1991)

Daniel Eisenberg

danieleisenberg.com documentary film: Cooperation of Parts (1987)

...........

NOTES

Both are cinematic investigations of the representational complexities of history and memory in relation to their family history that was formed by traumatic historical vents

Exploration of the process of intergenerational trauma

Representational impasses encounter through these interrogations

Re-encounter of traumatic past within the context of the present

Engagement with specific sites and landscapes from their parent's past

"(...) Eisenberg's film and Tajiri's video provide insight into both the problems encountered when revisiting the past and the capacity of visual representation to address these issues, even as they are confronted in relation to diverse traumatic historical events."

(p160)

Question: What is the capacity of visual narrative to address the issues of displacement and migration?

Accessing past by returning to its sites and interrogating its landscapes

The past itself can never be precisely located

Tangled relationship between history and memory

Past, history and memory are indistinguishably linked

"Past events that produced personal memory for one generation may, in fact, affect the next generation in deep and personal ways"

(p160)

"Eisenberg and Tajiri explore the relationship between history and memory by tracing a line from the self and their own personal memory, through intergenerational memory passed down by their parents, and out into the public sphere where history is made and written. Both artists explore the point where history and memory overlap, become entangled and spill into one another."

(p160)

we can form memories formed by non-present memories of our parents and grandparents

how to represent the absence experienced by second-generation witness?

"(...) history no longer has one single official narrative but can, instead, accommodate multiple narratives"

(p161)

subjective investigation of history by an artist

To consider I don't trust authorised histories; Poland even now presents a broken historical narrative.

Exploration of gaps in family narrative and changing official history

The effect of history and memory on the construction of individual identity

"Hirsch characterises postmemory as 'the experience of those who grow up dominated by narratives that proceed their births, whose own belayed stories are evacuated by the stories previous generation shaped by traumatic experiences that can be neither understood or recreated".

(p161)

To consider my childhood was dominated by narratives that proceed my birth; past was made to be present in everyday life; past traumas were to guide us through life

Postmemory is characterised by generational distance deep personal connection (Hirsch)

Postmemory is formed by familial ties with those who experienced trauma directly

Postmemory is new form of remembrance

Eventhough postmemory is formed with generational distance to the original event, it is an authentic memory

Postmemories generate their own forms of existential crisis

"Both memory and postmemory are inevitably connected to various acts and degrees of witnessing"

(p162)

Secondary trauma of next generation

Trauma threads itself through generations

"Memories of memories"

Artists/imagemakers become witnesses where their parents could not (were not able to)

The inability of the first generation express certain experiences/trauma

Identity or one's definition of oneself is a moving target

Daniel Eisenberg in Cooperation of Parts

"I tried to use camera not only to record what I was seeing, but also to register my own physical responses to what was seen (...) The sites themselves were of course indifferent and impervious to my presence, so film became a way to both inscribe them with meaning and the imprint of my presence"

"The feeling is this: an anxiety... a phantom pain. Something unseen yet intensely present. How can I describe this feeling to you?"

Hirsch's postmemory is connected specifically to children of survivors

communication between generation is often unspoken

children of Holocaust survivors create their identity through powerful and disturbing events they did not experienced

To consider: second generation need to connect and anchor what they remember of their parents' memory to their own embodied experience in situ. My need to visit Lithuania (!)

Tajiri objective is to create images that reframe and reclaim an absent part of family history

Familial omissions and amnesia post trauma

Tajiri creates images where there is none

Connecting unanchored inherited memories to embodied lived experience

Tajiri is able to reframe and reclaim the past for herself, her mother and the public

To consider lack of personal images from Stan Wojenny; limited family archive; no camera; no visual records; gaps in history; missing images from every generation

"Eisenberg and Tajiri can now reframe their parents' compromised or partial wintnessing of the original traumatic events with their own historically conscious acts of witnessing"

(p171)

image source: danieleisenberg.com Guerin, F., Hallas, R. and Wasserman, T. (2007) in The image and the witness: Trauma, memory and visual culture. London: Wallflower Press, pp. 159–172.

[sesiondemadrugada]

The Driver (Walter Hill, 1978).

[rhetthammersmithhorror]

Munchies | 1987

[ozu-teapot]

Greetings | Brian De Palma | 1968

Tina Hirsch, Gerrit Graham

[trashvideofinland]

Glufz / Munchies (1987) Esselte Video / MGM/UA Home Video https://www.videospace.fi/release/glufz_vhs_esselte_video_mgmua_home_video_finland

[bluebeewings]

My contribution to wlw tomgreg <3

[waystar-roycos]

“And don’t worry about the nuts. I mean, the cashews are the size of boomerangs.”

[bubblesbenson]

Guess what I just watched for the first time?

Man, is she the combination of Louise and Tina Belcher.

[lovelytekki]

Detentionaire x Alex Hirsch’s tweets

[ellen-enderle]

So excited to finally announce the release of Imagining Everyday Life: Engagements with Vernacular Photography! When The Walther Collection held a symposium on vernacular photography at Columbia University while I was a student there (video of symposium can be viewed here) I never imagined I would be working on a book with them just a short time later. It was a delight to delve into the Walther Collection’s fantastic vernacular photography collection, scanning and editing photos and photographing objects for what would be this wonderful book, and a total honor to have some of my original research and caption writing included. This is the first book I have ever worked on, and I am so grateful to The Walther Collection for inviting me to assist and take part in the process. If you are curious to learn more about the significance of vernacular photography, do check out this book. You can learn more about it here, and purchase from Steidl here or from Amazon here. Includes texts by Ariella Azoulay, Geoffrey Batchen, Ali Behdad, Elspeth Brown, Clément Chéroux, Lily Cho, Nicole Fleetwood, Sophie Hackett, Patricia Hayes, Barbara Kirshenblatt-Gimblett, Thy Phu, Leigh Raiford, Shawn Michelle Smith, Drew Thompson, Laura Wexler, and Deborah Willis.

[au-bain-marie]

Again some fanart I did for Inktober !