don’t get too comfortable
looks like “cane” is a slang term for police in Brasil…how appropriate
Composed by J. Piedade, Sá Roris and Alcyr Pires Vermelho.
TV Channel Globo, one of the largest television networks in Brazil, is broadcasting a series called “Sexo e as Nega”. The series is an adaptation of Sex and the City, but this time with four Black …
Mary Harron’s American Psycho profiles the mysterious, leering male character of Manet’s bartender’s nightmares. The film is about social retrogradation and the lack of the feminine gaze (and voice) in the hyper-masculine, financial altar of the 1980s, Wall Street, and the Reagan years.
But while Harron’s explicit intention was not to "make a film that endorses the maltreatment of women", as a male, recalling numerous high school moments of myself and other males mimicking Bateman’s more eccentric lines, I can attest to the film’s power to create the very opposite impression from what the director intended.
It is perhaps the film’s endless quotability and the brilliantly disgusting performance of the male characters that create this dissonance in question. In the end, we may point to McLuhan for an all-encompassing analysis of this problem: it is the medium itself that is the message here—regardless of content or intent, the images and words run away from you, mutate, and become something all their own.
As I’ve said before, perhaps only through the application of a process of cinematic denial, can films be used in the way they were intended, meaning you don’t make the reprehensible character so fucking cool and imitable.
perfect illustration of brasil’s relationship to blackness—-apprehension
Installed earlier this month on the western coastline of New Providence in Nassau, Bahamas, “Ocean Atlas,” is the lastest underwater sculpture by artist Jason deCaires Taylor (previously), known for his pioneering effort to build submerged sculpture parks in oceans around the world.