2004 version

Me: BOY DO I LOVE THE 2004 PHANTOM OF THE OPERA

People: the aesthetic is good but gerard butler‘s voice/deformity and emmy can’t act and raoul’s hair and they took out this line right here and they’re speaking lines in the final lair and it’s overall a flawed —

Me, but *intensified* : BOY DO I LOVE THE 2004 PHANTOM OF THE OPERA

One thing that I really like about the 2004 Final Lair is that it changes “take her” (said to Raoul) to “take him” (said to Christine), which makes sense given that Christine has to untie him from the portcullis, rather than the Phantom cutting him down. But, I kind of wish this was the line in the show itself. Partly because a lot of the time, when the Phantom says it, Raoul is still lying on the ground, dazed, recovering from being nearly strangled to death. Christine is the one who needs to be taking care of him.

This version also implies less that the Phantom is giving Christine into Raoul’s care, as if this has been a contest between him and Raoul for her affections, than that he’s offering Christine her freedom, and part of that is the life of the man he sees now that she genuinely loves. It puts the focus squarely on Christine, the real protagonist. 

A 5-Step Guide to Writing Intoductions

I get it, writing an introduction is friggin’ hard. Just as in real life, the first impressions you make in an essay are so important and basically the introduction will set the tone for everything that follows!

This is something we were discussing today in class and I thought a lot of it would be very useful so I decided to share it (#yourewelcome). Basically one of the assignments for our main class is to write an abstract which will essentially be the introduction to our dissertations. We were told what sort of format it should take and just reading through the different points it should cover, I thought it would make a very strong introduction for any topic!

Basically, we were told that writing is like a funnel - you should start with the broadest idea and get more specific throughout your work. So, an ideal introduction should be quite broad - but it should also highlight some of the specific things you’re going to write about in your essay.

~~~

So here are the 5 steps as promised:

  1. Opening premise - this should be a broad statement that is difficult to disagree with. We were given the example of ‘Intertextuality is central to the production and reception of translations.’ Can’t really disagree with that now, huh. (That’s written by Lawrence Venuti, btw - the rest of this is further down the post).
  2. Problematic - what problems arise from that opening statement? What are the main issues in the field? Have there been any recent (relevant!) developments?
  3. Research questions/purpose - what questions are you hoping to answer? What is the purpose of your essay/work? This is where the general ‘In this essay I’m going to…’ phrase comes in - this should be a statement of specific purpose that also demonstrates how relevant your main argument is in relation to the field mentioned in 1. Although please don’t actually say ‘In this essay I’m going to’. Please???
  4. Method - how are you going to answer those questions? Are you going to look at a particular example or case?
  5. References - this overlaps with number 4 a little. Basically, are there any particular texts, authors or works that you’re going to be referring to?

The basic way of wording all this, however, is what > why > how. Simple as that. 4-5 can blend together and they are less important depending on your level in the education system. These two points though can just be something as simple as the book that you’re going to discuss in a literature essay for English class.

~~~

Here’s the rest of the Venuti text, so you can (hopefully!) see these steps more clearly:

Intertextuality is central to the production and reception of translations. Yet the possibility of translating most foreign intertexts with any completeness or precision is so limited as to be virtually nonexistent. As a result, they are usually replaced by analogous but ultimately different intertextual relations in the receiving language. The creation of a receiving intertext permits a translation to be read with comprehension by translating-language readers. It also results in a disjunction between the foreign and translated texts, a proliferation of linguistic and cultural differences that are at once interpretive and interrogative. Intertextuality enables and complicates translation, preventing it from being an untroubled communication and opening the translated text to interpretive possibilities that vary with cultural constituencies in the receiving situation. To activate these possibilities and at the same time improve the study and practice of translation, we must work to theorize the relative autonomy of the translated text and increase the self-consciousness of translators and readers of translations alike.

To explore these ideas, I will discuss three cases: Rossella Bernascone’s 1989 Italian version of David Mamet’s play Sexual Perversity in Chicago; Kate Soper’s 1976 English version of Sebastiano Timpanaro’s study, Il lapsus freudiano. Psicanalisi e critica testuale (The Freudian Slip); and my own 2004 English version of Melissa P.’s fictionalized memoir, 100 colpi di spazzola prima di andare a dormire (100 Strokes of the Brush before Bed). The discussion makes use of a number of theorists, notably Ezra Pound and Philip Lewis.

~~~

Other pro tips:

  • Sometimes it can be useful to write an introduction when you have finished writing the main bulk of the essay - that way when you say ‘I’m going to write about xyz..’ you know for a fact that you’ve actually written about said things.
  • Your introduction should somehow match with your conclusion. Copy & paste these into a separate document from the rest of your essay and compare/contrast the both. Make changes as necessary
  • Sometimes you have an original thought in the conclusion of an essay - put that in your introduction!

~~~

I hope this helps at least one person out there! And, as per, my ask box is always open for questions/suggestions!

anonymous asked:

You do realize that Ashi is still a teenager and Jack is an old man, right?

Ok, I feel like it’s time to finally settle some of the discourse in the fandom over the Jashi ship

Ashi:

- Is an adult woman, probably around 20 years old

- Jack called her a “woman”, not “a girl”

-  She is mature beyond teenage years

- If she were a minor she definitely wouldn’t have gotten all the sexy/nude scenes she did last episode

- She can make her own decisions as an adult

- Jack helped her find her true self and gave her life a meaningful purpose besides simply being an expendable killing machine

- She obviously cares about Jack

Jack:

- Is technically 75 years old, (thousands of years old if you want to get more technical about it), but neither his physical age nor his psychological age represent a 75 year old

- He is still physically 25 years old, just with more emotional baggage (and as far as mental age goes, mind and body are not completely separate. His brain would still represent that of a 25 year old, still young and developing)

- By the logic of the “age gap” which puts Jack at 75 years old, who tf can he date acceptably then without a massive age gap since he’s an “old man”? Your grandma? That’s not fair to the character 

- He was able to forgive Ashi and does seem to care about her

- It IS possible to ship Ashi with the 2001-2004 version of Jack, ya know

- We’ve had evidence that in the presence of Ashi, Jack’s hallucinations become far less aggressive (blue Jack in episode 3 vs in episode 4), or disappear entirely, so she’s positively affecting his mental health

- So much so that she is able to convince Jack out of committing suicide after 50 years of temptation

Shipping Jashi in General:

- It has become clear now that Ashi is an adult woman

- Jack and Ashi have obvious chemistry

- Both have risked their lives protecting each other

- They have saved each other’s lives

- They are a benefit to each other’s mental health

- There is no evidence that Jack is Ashi’s father

- There is no evidence of an abusive relationship (They were enemies in the beginning, and yes, Jack killed her sisters, but it was in self-defense, and Ashi understands that.)

- However you choose to see the age gap is arbitrary, not factual 

- Compared to many other ships, like those shipping a young girl with a hundred-year-old vampire or whatever, or shipping Jack with a literal ancient demon, Aku, Jashi is a super unproblematic ship

Conclusion:

Jashi shippers have a very strong base for their ship that has proven to be mutually beneficial and pure. Whether it becomes canon or not, if you personally don’t like the ship for whatever reason, that’s fine, that’s your own opinion and you have a right to it. What you don’t have a right to is to attack the shippers, especially when there’s almost no reasonable argument against the Jashi ship.

I’m studying a bit more for my film exam today, but my god I’m just… laughing ??… looking at 1925′s Phantom of the Opera, dude, phantom looks terrifying as shit! 

The Mask didn’t even help to make him look less scary, it’s still creepy!? 

They did it right when it was put in the “Horror” genre, this would’ve indeed made me shit my pants if I saw this IRL

But now by 2004, we get this handsome fucker

I know we got more Phantom of the Opera movies that can still make the phantom look terrifying, but… I can’t handle laughing while comparing the first and latest versions of this dude lmao

2

A NIGHT ON HORROR ISLAND // listen
a mostly alex-centric oxenfree playlist - a mesh of other playlists because i couldn’t find any i really liked. i will be adding songs to it as time goes on !

dead hearts - stars // substitution - silversun pickups // spaceman - the killers // turn this boat around - matt & kim // am/fm sound - matt & kim // ghosts of things to come - clint mansell & the kronos quartet // time alternate version, 2004 - ben folds // ocean breaths salty - modest mouse // call them brothers ft. only son - regina spektor // meet me in the woods - lord huron // this house is full of water - thrupence // the speak it mountains - gorillaz // dandelion - boards of canada // ghost - mystery skulls // always gold (acoustic version) - radical face // dear sister, your brother - meg lynch & talain blanchon // brother - mighty oaks // king and lionheart - of monsters and men // transistor radio - cloud cult // amy aka spent gladiator 1 - the mountain goats

anonymous asked:

So like, the whole girlhood gothic thing kind of struck a chord with me, and I want to maybe find out more about it. But like, where do I start? Are there any books you would say fit this concept particularly well? Anything else you would recommend?

Follow up to the question I just sent: I just wanted to say that I like the idea of girlhood being something dark and angry, something searching and restless and seething. And that’s not something I’ve really been able to find easily in media before? So I just thought you might have recs. Thanks for reading.

YOOO I GOT YOU COVERED BABE this is my fave thing to talk abt!!

books

• anything by gillian flynn, obviously. sharp objects and gone girl especially.
• dare me, the fever and the end of everything by megan abbott, again, obviously
• the asylum for wayward victorian girls by emilie autumn if u squint
• the women in the walls by amy lukavics
• the virgin suicides by jeffrey eugenides
• deathless by catherynne m valente touches on this with marya morevna a bit
• the secret history has camilla macaulay
• carrie by stephen king
• christine daaé from phantom of the opera (a great non-villainous example)
• the bell jar by sylvia plath
• ophelia from hamlet

film/tv

• heathers
• stoker
• the virgin suicides
• kate fuller of from dusk till dawn
• the craft
• young vanessa ives from penny dreadful
• the sisterhood of the night
• laura palmer from twin peaks
• jennifer’s body
• again, christine daaé in the 2004 film version of phantom of the opera, much more so than the book
• christine day in the 1989 film version of phantom of the opera
• the neon demon
• carrie
• violet harmon from american horror story: murder house and almost all the witches from coven
• ginger snaps
• meg giry from love never dies
• cheryl blossom from riverdale
• lucille sharpe from crimson peak when she was young

honestly most of my fave female villains (and sometimes girls that aren’t villains at all, just mad girls like christine or ophelia or emily) were presumably this as teen girls/young women, which is something i like to keep in mind when trying to develop them in fanfic, how i see them, and just misc portrayal. also, there wasn’t enough for a whole music category, but nicole dollanganger and emilie autumn sing about this a lot. thank you so much for asking this, i hope i helped !! if you want to, feel free to add ur own !!

Me:  *starts reading Fate/Strange Fake*

One Of the Masters:  *is a young Native American girl*

Me:  Huh.  Unexpected representation.  I’ll take it.

Her Servant:

Me:  *trying to control the hype*  Um…Fuck yes?  

anonymous asked:

Gothic romance?

Well, let’s see.  I guess it all depends on what you mean by Gothic Romance.   A long time ago the term Romance was used to mean anything emotional, dramatic, or exaggerated.  And most Gothic fiction fits under this category but I’ll answer under the assumption that you mean the modern definition, as in Gothic love stories.

Here we go…

Edward Scissorhands.  Probably the saddest but most obvious one to list with beautiful and haunting music by Danny Elfman.   

Crimson Peak.  This one is practically a love letter to Gothic literature of the late nineteenth century and practically personifies Gothic.

Faust.  The silent version by F. W. Murnau.  This version beautifully follows Goethe’s Faust Parts 1 and 2 and ends with the bitter-sweet ascension of Faust and Gretchen to Heaven, Faust’s love saving him from damnation.

Tim Burton’s The Corpse Bride.   Animated with beautiful music by Danny Elfman this film is today strangely under-rated whereas when it first came out people seemed to think it would be the next Nightmare before Christmas. 

The Company of Wolves . This one is an odd film.  Using werewolves as a metaphor for sex, sexuality, and even puberty the film tells several classic werewolf legends all within the mind of a sleeping pubescent girl (having her first period).  In the dream Granny (Angela Lansbury) tells terrible werewolf stories to Rosaleen (Little Red Riding Hood) to warn of the dangers of men but in the end Rosaleen shows sympathy to a werewolf huntsman and it’s implied she becomes one as well.  This is from director Neil Jordan (Interview with the vampire) and can work on it’s own (without understanding of the metaphors) as a good, yet trippy early 1980s werewolf movie.  

The Ghost and Mrs. Muir.   Nineteen forties novel, movie, and 1960s TV series.  This is a sweet story of a self-sufficient young widow (in the Victorian era) who ends up in a very peculiar and loving relationship with the ghost of a cantankerous old sea captain.  It’s more empowering than anything you’ll ever find in Twilight.

She Creature (2001 film.  Not to be confused with the 1950s film of the same name.  It has a very different plot.  Also sometimes titled She-Creature: Mermaid Tales).   This film deals with some carnival people trying to take a captured mermaid back to America with them but the mermaid is more of a predator than they realize and she starts to kill off the men who hold her prisoner, only showing sympathy to the one female on board, whom she seems to have developed feelings toward.

Dracula (1979 film).  I like this one because the Mina character (called Lucy in the film) is actually a very strong and aggressive character. You can even argue that she is the one who seduces Dracula first.  She also speaks her mind when she disagrees with his actions.   And it intrigues and delights him. 

Bram Stoker’s Dracula.   The love story might be purely created for the film but I still like it.  Even if they did take some odd liberties about how Dracula became a vampire.

Dark Prince: The True Story of Dracula.  Surprisingly respectful to history while still implying Dracula becomes the vampire, the dynamic between Vlad and Lydia is sweet.

Love at First Bite.  This one is a romantic comedy but I have a soft spot for it.  It even gives Dracula a happy ending.

The Vampire lovers.  If you want a little bit of Lesbian romance than The vampire lovers might be for you, it’s an adaptation of Carmilla with one of the main character’s names changed but other than that it follows the novel better than some other adaptions and has a great ambiance and atmosphere.

Interview with the vampire. If you can’t tell that Lestat is in love with Louis than you have no eye for subtlety.  Not strictly a romance but you can tell there is love between the main characters.

The Bride.   Not to be confused with The Bride of Frankenstein this movie is from 1985 and is a very modern (though set in the past) exploration on the Bride of Frankenstein idea. It also gives The Creature a happy ending and I’m kind of a sucker for hopeful outcomes.

Beauty and the Beast.  Nearly all versions of Beauty and the Beast (when done well) are Gothic romances.  Though if you want something a little darker than Disney than I would suggest the 1940s version or the surreal 2014 French version (now available on DVD in the US.)  The 2014 French version has beautiful visuals but the chemistry between the leads is a little weak.  It also gives a very intriguing new backstory for The Beast.  

Sleepy Hollow.  The romance between Ichabod and Katrina is simple yet beautiful. (1999 movie.  Not the TV series.)

Warm Bodies.  May people call this the zombie equivalent to Twilight but R has a lot more character depth and development than Edward ever had.  Also it’s the only Zombie apocalypse movie to have a happy ending. And though the metaphors are a bit ham handed I think it’s sweet.  Love and feeling is what makes you alive.

Let the Right One In.  Though the relationship is platonic the protagonist’s bond is deep and sweet.  And if you want a little violence in your romantic movie night wait until you get to the “bullies at the pool” scene.  You’ll get something delightfully terrible.   

Phantom of the Opera (2004 musical / opera version)

Disney’s Hunchback of Notredame.  I say the Disney version because the romantic aspect of the original is purely in the emotional nature of the story.  Any “Love story” aspect was purely one sided but in the Disney version you get to see reciprocated and unappreciated love.  Also, who doesn’t love “Hell Fire”?

Dorian Gray (2009 version).  Though this film deviates from it’s source material it does capture the heart and feel of the original story and also features a sort of quasi-redmption near the end, out of love.

The Canterville Ghost (1996).   The love story in this is a bit thin but it is there between Virginia and the young lord next door.

Gothic only in it’s atmosphere, nearly any version of Les Miserables.

There are a lot more but that’s what I thought of off the top of my head.

Bonus Fantasy suggestions:  Maleficent (though it’s more of a maternal love), Splash, and Date with a Angel. 

For Gothic Romance TV shows:  She-Wolf of London, Dark Shadows (original and 1990s version), and Forever Knight, and Lucifer.

For Gothic Romance novels try Carmilla, The Dracula Tape (retelling of Dracula by Dracula, himself) by Fred Saberhagen, Goethe’s Faust parts 1 and 2 (Closet Drama), Warm Bodies,  Les Miserables by Victor Hugo, Beauty and The Beast (original French novel, not the fairy tale version), and The Ghost and Mrs. Muir by R. A. Dick (Pen name of Josephine Lesley).

TV mini-series:  Jekyll.  A direct sequel to the original story by Steven Moffat and it shows just what happens when Hyde develops feelings toward his alterego’s family.

And the 2004 Hallmark mini-series of Frankenstein starring Luke Goss as The Creature.  It’s very faithful the novel and has good chemistry between Viktor and Elizabeth.  

Plays:  Frank Wildhorn’s Dracula The musical.  Particularly the German production.  Dracula das Musical and the Japanese version where Wao Yoka plays the best Dracula ever done by a woman you are likely to come across. 

The up coming movie The Shape of Water looks very good too.

7

Seven different ALW!Phantom deformities: 

1. The replica version, as seen on Ramin Karimloo in the Royal Albert Hall concert. It was in West End style, but had less colouring on the cheek and chin, and a more prominent… brain? The main idea is to give the impression of a lifted/drawn back lip so it looks like a beast sneering. The wig is a nod to the disease Alopecia Areata. Other replica versions have less prominent “brain”, and often bolder colours. 

2. The Las Vegas replica version, as worn by Michael Lackey. If you look closely, you’ll see that the prosthetic pieces is more or less the same as the original. But it was much heavier coloured, to be seen from the very back of the auditorium in the large Phantom Theatre. 

3. The 2004 movie version, as worn by Gerard Butler. Kinda underwhelming, looks like a bad sunburn more than a deformity he was born with. Of course made for movie closeups, but still not very terrifying. Certainly not something you’d be put in a cage and be forced to live in the underground for. But at least it followed the idea of one side being damaged, one being good. 

4. The restaged tour non-replica deformity. The abandoned the idea of a “sneering beast”, and instead went for… melted cheese. 

5. The Hungarian non-replica deformity, as worn by Sandor (Alexander) Sasvári. They too went for the “sneering beast” lip and the cracked skull, but went for grittier colours, with yellow flesh with black patches. The eye socket on the bad side was also coloured all black, to give the impression of a skull. 

6. The Polish non-replica deformity, where it looks like the skin is heavily infected and falling off in patches. Rather cool as such, but I hate that we’re able to see it’s merely a plastic piece attached over the ear. It’s like a second mask. 

7. The Czech non-replica version. Full-fledged deformity, going from lip to the very back of the skull. Less “sneering beast” here, instead the disappearing jaw area and the “empty eye socket” is underlined to give the impression of a skull. Interestingly enough, they’ve kept the cracked skull and “brain” idea, as seen in the RAH concert. 

ALW PLAGIARIZED
AGAIN
ALW PLAGIARIZED

Compare: "Una Voce Poco Fa" from The Barber of Seville (premiered in 1816)

and “Think of Me” from The Phantom of The Opera (2004 movie version)