recontextualizing

The why-do-you-keep-forgetting-us-members-Jun? segment

As Keisuke and Jun mention that they meet recently at stores (sometimes for drinks), Ohmiya find it important to express disgruntlement on behalf of the members.

Nino: It appeared!  It appeared!  The store where celebrities gather has appeared!

Jun plays innocent with a what-can-I-say smile.

Satoshi: So celebrities will definitely be there?

Jun: Not always, but it will usually consist of directors of commercials.

Satoshi, Kazu and Sho mentally pout and wonder why our youngest leaves them out of the fun. (LOL)

Sho: So do you (Jun) run into any celebrities by coincidence?

Jun: I met with Matsuda Shota for meals… after a long while…

Sho (barely restraining the envy leaking out): That’s 2 out of F4 (from Hanadan) you know~

Jun: … and when we entered the restaurant, we ran into Kinashi Noritake-san who was already there.

Ohmiya: Eh~ Where is it (that you go to)?  That’s why we asked you before…

Jun: Even if I were to say let’s go together, you wouldn’t go anyway right?

Kazu (softly to Satoshi): You go on and tell it to him.

Satoshi: (We’d / I’d?) Definitely go~

Jun (laughingly): You so would not~

Riida’s expression is too cute and causes everyone to erupt with laughter! LOL.

Arashi ni Shiyagare 08.08.2015

Okay but what if, what if, actually diverse Vampire Chronicles. Because it’s kind of never not disappointing as I get older that these books with a cast spanning history and the globe are all notably Beautiful Pale People (EVEN THE ANCIENT PROGENITORS FROM AFRICA FFS. YES, MAHARET AND MEKARE SURE ARE ALABASTER REDHEADS. NO FRECKLES OR ANYTHING. Hell, even Akasha…..the only WOC in the trilogy and also the misguided villain….is bleached out by the time she wakes up in the present). 

CONSIDER:

Louis, the illegitimate son of his (never mentioned) Plantation Owner Father and one of the women working in the mansion; the only one technically able to take over the household after his (blond, blue-eyed) brother Paul’s death and the amount of quiet and not so quiet resentment heaped on him from all sides

Lestat, a free black man in Paris drawn there because any artist could make it there if they were talented enough, totally in awe of Dumas’ success even if he couldn’t read any of the books. Lestat flaunting his wealth in the New World half as a way of daring the scandalized society around him to do something about his status as a free, mobile man. Lestat reading Nat Love instead of Sam Spade when he was holed up in the 20s.

Gabrielle, brought over from the colonies of Seychelles as nothing less than a prize, bitter at her cold alien surroundings and the way she’s looked down on as some kind of “savage” even if no one will really say it (they just turn up their noses at the “disgraced” de Lioncourt name instead). Also wouldn’t it be nice to not have the extra horrific implications of her “I will be a goddess to those I slay” statement when she leaves Lestat. 

Claudia, a little Creole girl considered an acceptable sacrifice in quarantining and shutting off the plagued slums, with a cloud of dark hair Lestat absolutely refuses to let Louis straighten (in an attempt to make life “easier” for her). Seeing her fellow women devalued and yet still longing for the adulthood she’d never have, it’s no wonder she was filled with a desire to take vengeance on the world. 

Armand, stolen not by the Ottomans but by wokou raiders from his coastal home in Fuzhou (a supremely bitter irony given the Ming Dynasty’s general abolishment of slavery) and sold on the basis of his “exotic” appeal and youthful features. Struggling not only with his eternal youth but his perceived subservient status in his pursuits, forced even more to work behind a front in order to be taken “seriously.” 

kotaku.com
Hollywood's Ghost In The Shell Cast Photos Apparently Leaked
We’ve already gotten glimpses of Scarlett Johansson as The Major and Pilou Asbæk as Batou. If these leaked photos are to be believed, here is our first look at the other members of Public Security Section 9.
By Brian Ashcraft

Long time without a post, but this came up at Kotaku and just…ugh. Setting aside the whitewashing just for a second here - because I think we’ve all said about as much on that as needs be said, it’s stupid, it’s bad, it shouldn’t happen - did they get anyone right? The comments setcion is full of people pointing out how they look nothing like their comic book counterparts, especially Togusa, who is about two decades too old, and Batou, who has somehow lost his signature artificial eyes.

All of this screams “we just didnt care,” so I think their claims that they are merely recontextualizing the story and it’s not really whitewashing have been completely debunked at this point. This movie is being created by people who don’t care about the manga or its fans, in Japan and out. They’re not getting my money, I hope this film bombs.

youtube

“Mica Moca is a gigantic three building complex, the remnants of an old treasure vault factory. It is open and ripe with possibility. In the main room, personal objects are set up around the room. They are offerings for the public. Each collection has a cell phone number and a sort of aural menu attached to it. The public is being asked to pick up their phones for a free, private concert with the singer of their choice. The singers are housed in various rooms throughout the complex, unseen by their audience. It is an intimate concert for two.”

anonymous asked:

what do you think of POSTMODERNISM?

could be interesting but i distrust its most vocal proponents or its tendency to intentionally decontextualize every other culture and sub-culture they look at to analyze from some sort of closed of set of ideas that of course are not available to be criticized by outside cultures and then come up with often entirely speculative ideas about the whole of humanity, using Grand Suppositions to cover for any lack of grounding or thought of nuanced issues and history of people in many fashions. i also dislike its lean to discount the sincerity of others works in art, then recontextualize it into their own thing, creating a kind of feedback loop where it’s only okay to enjoy something sincerely, ironically. a strange world where you must be above the Normals but also above the Weirdos.

i find it interesting that postmodernism has some sort of claim against grand narratives and normative ideologies when they themselves create very much the same thing.

lots and lots and lots of barton fink motherfuckers out there who aren’t actually listening to the people they talk about. lots and lots of postmodernist type motherfuckers who actually only pay attention to themselves.

I think it’s worth mentioning that I don’t actually think that the Indian references in Fates were done well. The iconography lifted with the intent to exoticize, the sole representation being pale-skinned characters, the lack of context given to the symbols borrowed, evil Buddha, the convenient fact that everyone from Touma can’t speak of it (and therefore tell anything about its native culture)–it’s textbook appropriation.

But that’s exactly why I think it’s important to preserve those clumsy references rather than overwrite them and pretend they never happened–so we know what went wrong. So we, as fans, can try to recontextualize and reclaim at least some of it. So we know that there’s hurtful content in the story and we can acknowledge it and talk about what could have been done better.

Instead it was all brushed under the rug, with Vedic architecture and religious symbols glued to Greek names. I don’t really think that’s better, to boil the primary cultures of the game down to “the east, the west, and also the west”.

(I understand that this isn’t a hypothetical discussion for a lot of people, though. Appropriative design is a touchy subject and some people just don’t want to be reminded of it at all.)