in-transit-in-film

bounding-heart  asked:

Hi. I reblogged your post about the Harry Potter and the Prisoner of Azkaban and then got an anon asking me to elaborate on the thematic complexity of the film. Given it was your post, I was wondering if you'd write a bit more on the subject? I'd love to hear your thoughts. :)

Hello! 

I’m honored that you reached out to me about this movie; it’s one of my favorite films of all time, and I could write novels about it if I could.

Now, consider this: it’s 2004 and we’re seeing Prisoner of Azkaban for the first time. We as an audience have just gone through two films that mapped out the typical hero’s journey; Voldemort’s the antagonist, and Harry’s the hero that vanquishes him. Black-and-white narratives, clear borders to who’s noble and who’s evil. However, in PoA, we realize that these borders are actually very ambiguous, and Alfonso Cuarón exploits this concept quite beautifully in this film. 

Take the title card. 

Have you noticed what’s different from its predecessors? 

The logo’s no longer golden. 

It’s silver and gray, displaying both lightness and darkness in every letter. In fact, the very location where the logo floats around emulates light in a dark environment. Out of context, we can’t figure out where it even is, whereas in the previous films, we clearly see the logo floating around in the skies. This tactic foreshadows that there’s going to be a sense of ambiguity in PoA over what is good and what is evil, instead of giving us a clear cut story of the noble hero getting introduced to a magical and mysterious world [the golden logo with a stormy background in Philosopher’s Stone] or the valiant hero defeating the malignant villain [the sun shooting through the dark clouds in Chamber of Secrets]. Some examples of moral ambiguity in PoA include Sirius Black, who gets sent to Azkaban for a crime he didn’t commit; Remus Lupin, an inherently good person, but labeled as evil by society in the end since he’s a werewolf; Pettigrew, an individual that turned to the dark side out of cowardice and fear, instead of devotion to Voldemort. 

PoA’s title card can also be taken more literally; since this is the transition film that’s going to set up much more heavier tones in the future, we’re going to be exposed to a lot more dark elements of the magical world in this movie. 

Here’s a scene where Cuarón again emphasizes lightness and darkness, but with different thematic meanings. 

We see a snowy Hogwarts, where everything is light until…

…the camera focuses on the clock and Harry behind it, who’s completely enveloped in darkness. 

In contrast, his classmates play and prank each other in the light snow while they get ready to go to Hogsmeade. 

Just from this single scene, Cuarón displays that Harry, surrounded by darkness, will always be separate from the other students at Hogwarts. No one in Hogwarts has dark forces threatening to consume them every waking moment. Everyone’s still able to enjoy the happiness and privileges of childhood innocence, while Harry’s had that innocence snatched away as a baby and grows constantly aware that a dark wizard plans on destroying him. This difference can also be seen without much cinematic analyzation; since Voldemort killed Lily and James, Harry’s had no one to sign the permission slip that allows him to go to Hogsmeade trips (Vernon and Petunia would have never signed it even though Vernon made a deal with Harry; let’s be realistic). 

Now, let’s talk about one of my favorite shots of the film. 

The camera zooms in on the dark Grim residing within the light tea cup, foreshadowing the dark forces that Harry must face. However, I also love this shot because it’s the second time we see the Grim as an evil omen—a red herring for the audience to consume. Cuarón wants his viewers to be afraid of the literal black dog and for them to associate it with evil, which fools non-readers into believing that Sirius Black is who the Grim was foreshadowing, since Sirius can turn into a literal giant black dog. However, once watchers get informed that Sirius is innocent, they finally realize that the evil force wasn’t Sirius after all; it was Pettigrew, who with his escape, finally turns the wheels in motion for Voldemort’s reemergence, and thus puts Harry in grave danger. 

Another great scene that shows many thematic layers? Our first glimpse of the Great Hall. 

The candles and the flames at the sides of the walls give the Great Hall a warm, golden atmosphere. However, we also see the tall windows behind the choir, dark with rain and lightning—a stark contrast to the rest of the Hall, implying that this comforting, light atmosphere of Hogwarts will be short lived. In addition, the choir sings an ominous song to the students, with lyrics lifted straight out of the Three Witches’ dialogue in Shakespeare’s Macbeth (”by the pricking of my thumbs, something wicked this way comes”), a famous Elizabethan play that coincidentally also analyzes moral ambiguity. 

With this discordant atmosphere, Cuarón gives us a sense of uneasiness despite the welcome and safe environment of Hogwarts we’ve grown familiar with in the previous two films. The message? There’s a greater form of darkness coming, so strap yourselves in: this ain’t your typical Columbus narrative. And he certainly delivers on this part; other factors besides Voldemort portray the darker areas of the magical world and there’s no happy or satisfactory victory to celebrate at the end of the film. 

I could go on about Prisoner of Azkaban, but I’m afraid that’ll make this post too long for anyone to read! But thank you for the ask; it was so much fun to analyze this film again.  

For more info, Nerdwriter1 has this beautiful video of this film and I think this user has a simply amazing analysis

anonymous asked:

what do you think tomorrows vid is gonna be

hopefully a rebrand bitch! complete with dan howell name changes on all social media and a smooth transition from filming in the old apartment to the new house! smiley dan with curly hair and a positive attitude! a phil appearance! 

huffingtonpost.com
Short Documentary Brings Transgender Narrative To Global Audiences
Authentic LGBTQ narratives like 'Where We Are Now' are even more necessary now more than ever.

In June 2016, Scottish artist filmmaker Lucie Rachel released Where We Are Now, an insightful personal documentary about the relationship between a young bisexual woman and her transgender parent, who recently made the decision to transition. The moving 9-minute film presents viewers with a rare, intimate look at a non-heteronormative family. 

anonymous asked:

Listen that part in the festive ditl where dan filmed Phil's ass and said butt, giggles then used the chrome cast as an excuse still has me shook. Bc I watch rose and r*sie and they did the exact same thing, only when asked if rose was filming r's butt she says uh no I was filming the floor! Look at that craftsmanship on that tile! I think of that parallel a lot and cry.

k but dans play on words and that smooth transition from filming phils butt to filming the chrome cast to seem more nonchalant.. usually i wouldnt compliment danisnotonfire but that move was flawless

Amandla Stenberg

Amandla is a nonbinary African-American and Danish-American activist, actor and singer. Amandla is known for their acting prowess in films and performances such as, Colombiana (2011),  The Hunger Games (2012),  Sleepy Hollow (2013), As You Are (2016), and Beyoncé: Lemonade (2016).

Amandla Stenberg was born on October 23, 1998 in Los Angeles, California to parents Karen Brailsford and Tom Stenberg. Amandla’s name means power and strength in Zulu and Xhosa. At the age of four, Amandla made their public debut when they were featured in a Disney catalog and went on to star in numerous commercials for brands including McDonald’s and Walmart.

Amandla made a transition into film in 2010 when they began filming the action-thriller Colombiana (2011). Since then they have demonstrated an innate ability to capture the hearts of viewers worldwide. For their role as Rue in The Hunger Games (2012), Amandla was nominated for an NAACP Image Award for Outstanding Supporting Actress in a Motion Picture. Amandla is also a talented musician and can play the violin, drums and guitar. In 2013 Amandla began performing violin and singing at venues across Los Angeles. Later the same year, they dropped their self titled EP.

Amandla Stenberg is a voice for young, Black, and LGBT millennials. Amandla is passionate about fair and diverse representation evidenced by their viral video “Don’t Cash Crop My Cornrows” which unpacked the baggage of cultural appropriation. Amandla was invited to the Martin Luther King Jr. Memorial Foundation to participate in the dedication ceremony where they paid tribute to the four young girls who were killed in the tragic Birmingham church bombing. Amandla is one of the most brilliant and outspoken actors of their generation. They take a multimedia approach to activism using film, social media, and music to bring more diversity in media, to build safer spaces, and to create more political agency for all people.

Dazed Magazine called Amandla Stenberg “one of the most incendiary voices of [their] generation.” Time Magazine named Amandla one of the 30 Most Influential Teens of 2015 and again in 2016. They have been interviewed by Solange Knowles for Teen Vogue and have been deemed an “icon of change” by ELLE UK. Oprah Winfrey recognized Amandla’s work and invited them to talk about authenticity in activism for Super Soul Sunday. Amandla is also the recipient of the BET Awards’ Young Stars Award. They have also been named Feminist Celebrity of the Year by the Ms. Foundation for Women. Amandla is a youth ambassador for No Kid Hungry and supports the Ubuntu Education Fund.

anonymous asked:

you said there was a similarity between clarke and bellamy in 4x01, but i couldnt see it. what do you mean by that?

i don’t think you’ll ever know how glad i am that you didn’t say ‘parallel’. i am a film student and i am so sick of that word lol (thx fandom). this might just be me but i personally think it’s not a particularly productive way to call everything a parallel. there is quite a difference between having a similar scene and an actual parallel that you will immediately catch. i feel that most people in this fandom don’t seem to understand the difference since they keep using that term in cases in which it should not be used. so yea, kudos to you for not going with that one. either way though. yes, i did say that there are obvious similarities (or at least that’s how i look at them) in how the writers decided to deal with bellamy’s and clarke’s respective individual arcs and how they managed to fuse them together by the end of the episode, and i’m gonna stand by that interpretation for now, because it makes the most sense to me.

(i dont have much time so i’mma have to keep this short)

i found 4x01 to be fascinating on many levels, from the intense focus on interpersonal relationships to the political/universal conflicts/issues. we get a lot of information in this ep alone and it’s all bewildering as much as it is exciting, because shit is gonna hit the fan real fucking fast. what caught my attention regarding bellamy and clarke though is this: you have an interplay between the visual, emotional camerawork and the written, intellectual narrative (text) that creates an expression of continuation within their personal relationship.

let’s start with the obvious: both characters deal with their dead loved ones in this episode (lexa and gina).

Keep reading

spin.com
Report: Donald Trump Plans to Eliminate National Endowment for the Arts, Privatize Corporation for Public Broadcasting
Donald Trump's transition team is eyeing staggering cuts to the federal agencies that support the arts, humanities, and public broadcasting, the Hill reports. Under the team's plan, the non-profit Corporation for Public Broadcasting, which supports public television, public radio, and PBS, would be privatized. The National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH), which offer grants for artistic and educational productions, exhibitions, research, and more, would be eliminated entirely. As The Hill points out, the proposed plan hews closely to a blueprint prepared by conservative think tank the Heritage Foundation, which has had an outsize influence on the staffing and direction of the new administration. Two transition team members reportedly discussing the cuts to arts funding, Russ Vought and John Gray, previously worked for the Heritage Foundation, and for vice president-elect Mike Pence. The U.S. has always trailed countries like Canada and

Everyone, everyone on this page should be blowing up phones and trying to shut this shit down. Not cutting military spending, no bail outs for corporations and major tax cuts. We’re saving money by shutting down the arts. And privatizing PBS.

This is absolute bullshit.

‘Scuse me, Ms. Rowling

If you’re going to tell us that Cursed Child isn’t about to be made into a movie (and, by transitive logic, filmed in its staged production format), then tell your actors to stop tweeting “you’ll just have to wait to see it live.” 

Almost none of us are ever going to be able to see it live. There are rumors of a Broadway run, but, again, almost None.None% of the fans will get to see the show. 

Give. Us. A. Flipping. Filmed. Version. Harry potter is for everyone. Keeping it in its theatre format denies 99% of fans the pleasure of experiencing something magical. 

5

“Open your eyes. Get your thinking to where you are, not where you’ve been. You’ll be in the rapid stream of decision-making, having to make intuitive choices. The people against you are high speed, world class, dangerous. To be a genius coder, to out-think, out-smart like my brother always said you could, you have to think about it clear. Not easy, I know. There’s no transition time.”

If Craig comes back for Bond 25, I think it would be awesome if Idris Elba could still have at least a cameo as 009, and take off in Bond's car at some point.

Bond did it to him in Spectre. I think it would be cool if it was more than a cameo, as I love Idris Elba but can’t see anyone else playing Bond except Craig right now. It could also make for a good transition into a solo film for Elba instead of replacing him as 007.

I’ve never read the books, but if he doesn’t have a name I like Ian Kent. Boring, and a nod to Flemming.

Edit: Spelling.



Catch up on some James Bond!
Moonlight 🌒

Who is you, Chiron?

 A question that rings in this emotion-jerking film. Moonlight is broken into three different segments: i:Little, ii:Chiron, and iii:Black. In these three sections, we enter into the world of Chiron as he’s coming of age and discovering his identity amongst the internal and external chaos surrounding him. On this journey of manhood, he befriends a drug dealer, Juan, and his girlfriend, Teresa, all of which takes place during the time period of “War on Drugs” in the 1980′s in Miami Florida.  Juan and Teresa become parent influences, showing him the love that he does not receive back at home with his mother, Paula, who begins to suffer from crack addiction. Along with troubles at home, he faces continuous defeat, both verbally and physically, by his classmates at school for being “different”. Dealing with a lack of love in most areas of his life, he gains one friend who continues to show him compassion throughout the movie, Kevin. 

Moonlight opens up with a song, seen by the director, as appropriate for letting us know that this is a very black film: “Every Ni***r is a Star” by Boris Gardiner. The dialect used in the dialogue and musical choices, such as “Classic Man” by Jidenna, chopped and screwed, amplifies this opening point.  

The film captures intimate moments in Chiron’s life, while also shedding light on stereotypical characters within the black community. A compassionate drug dealer, a mother struggling with her addiction, trying to hold on to her son the best way she knows how, and a young man on a challenging journey to understand and accept his sexuality. Ultimately, a struggle for identity. 

The score for this film captures the emotion in the film. Moonlight consists mostly of silence, emphasizing  Chiron’s disconnect with his surroundings and himself but also allowing the audience to fall deeper into the scenes between the characters. Along with the score, the cinematography deserves a ten out of ten based on how the shots were taken, the angles and how crisp each shot was. In parts of the film, you see the shot taken in a way that causes the audience to feel as though the character is speaking directly to them, creating an illusion of being in the current situation. One scene that does this is when Paula, Chiron’s mother, locks herself out of her home while in desperation for more drugs and she says to Chiron “well I’m your mother, ain’t I?” after asking him where has he been. The emotion that strikes from that one glimpse of her speaking pushes you into the confusion of Chiron and the feeling of no longer knowing his mother. The hues reflected in certain scenes elaborates on the feelings being conveyed throughout the film: loneliness, conflict, and silence. Now onto the actors/actresses. You see Juan (Mahershala Ali) in the section of Chiron’s life when he’s a child. Juan develops Chiron by stepping in as a father figure, teaching him the importance of coming to terms with who you are. While also trying to be a good influence on Chiron, Juan comes to terms with his own life, realizing how his lifestyle affects the people around him. 

Teresa (Janelle Monae) appears in Chiron’s first two sections of his journey to discovery of his identity, being a loving figure who’s easy to talk to, showing no judgment, but rather, encouragement.

Originally posted by asilversnake

  Paula (Naomie Harris), Chiron’s mother, Chiron, and Kevin are shown in all three sections of the film. They are the three characters that show changes in the different stages of their lives. Paula begins dabbling in drugs, leading her to be immersed into an unexpected lifestyle. By the end of the film, she and Chiron have their moment of reconciliation in his adult years.

What I found particularly amazing was the similarity in mannerisms and shared souls by the characters playing Chiron. Yes, most actors/actresses try to mimic each other’s performances when playing the same character. But, in this film, each actor shot their scenes at different times, not being allowed by Barry Jenkins (the director) to see each other’s scenes and take notes. This added more room for the actors to truly be engulfed in Chiron’s character, placing more emphasis on how we continue to evolve and be molded into the final stage of ourselves. The continuation of facial expressions through the actors playing Chiron were eloquently executed without easy ways out, thus showing why Barry Jenkins is a genius. 

The topics of Homosexuality and Masculinity are portrayed in a visual and apparent manner. Presented in Chiron’s second stage of life, you see him and Kevin as teenagers (played by Ashton Sanders and Jharrel Jerome).

Originally posted by pridesite

 Masculinity is shown here as a teenaged Kevin seems to be overpowering his representation of masculinity by boasting about how he was caught having sex with a girl in the stairwell of their high school. This reflects how society pressures males to show that they are a “man” by sleeping with a multitude of women and how young men are congratulated for “scoring” or “getting laid”, thus causing insecurity for the “outsider”. Another instance that adds a twist on truth is the appearance of Chiron as an adult (played by Trevante Rhodes aka, the love of my life)

His appearance, (almost resembling that of Juan), physically built, slouched over, gold chain and grills for added decoration, isn’t the usual appearance that people associate with someone who’s homosexual, but rather someone who is “macho”. This adds to the idea that you don’t truly know what someone is dealing with or who they are. His appearance also adds to the theme of him building up walls against the world (his muscular build, face filled with sorrow, and minimal speaking) so that people can’t come into his world and be aware of his weaknesses. 

While he learns to put his guard up all of his life, he continues to open up due to his friend, Kevin.

Kevin (played as an adult by Andre Holland) has transitions during the film, remaining unpredictable but always staying true to pushing Chiron into his future, without fear. When they reconnect, you collect goosebumps due to the built up suspense and the tension between the two characters, as adults, from meeting again after ten years and having unanswered questions on both ends.  

Tarell Alvin McCraney and Barry Jenkins did an impeccable job combining their own family experiences and showcasing the type of people represented in this movie in such a human way on the big screen. This film creates questions that are thought-provoking, causing the audience to leave the theater in a different way then they came, and making connections through all the combined elements of this film, opening conversation among viewers and ones who have not witnessed this stunningly bold creation. The open sections of the film force a person to seek out the puzzle pieces that complete the storyline, subsequently adding more suspense. It expounds on stereotypes, showing a side that may have not been thought of before. 

Your mind and heart will be opened. 

Altogether, Moonlight is a true beautifully heartbreaking masterpiece that reflects on the human experience. Moonlight is universal. Moonlight is love. Moonlight won a Golden Globe.

I smell an Oscar. 

Originally posted by history-is-art


If this review piqued your interest, click here for the link and find a theater near you!  

I saw the Santa sex scene for the first time.

You know how a lot of our Judeo-Christian rituals have pagan origins? I feel like the Santa sex scene is one of those scenes that was connected to something in the film, something strange and outlandish like film directors are prone to add to book to film transitions, that was cut. I imagine it’s something like, ‘Enjolras was conceived in a dirty tavern by Santa and a prostitute.’

So now we don’t have the weird story line, but we have the scene that they forgot to cut.

In transit.


Film: Lucky Color 200

Camera: Asahi Pentax ES II