recontextualizing

This recontextualized everything

I literally cannot even believe this show just pulled a Madoka on me. Let’s see if I’ve got this straight.

- Last year at the GPF, Yuuri spectacularly bombs out and ends up in sixth place. Victor takes the gold.
- Yuuri cries in the bathroom, meets Yurio.
- On the way out of the Sochi rink, Yuuri and Victor pass each other and Yuuri stares a little too long. Victor, not recognizing him off the ice and mistaking him for a fan, offers to take a photo with him.
- Yuuri instead walks away, probably wanting to go crawl in a hole and die somewhere.
- Celestino drags Yuuri out to the banquet, probably to try to keep him from stewing in depression.
- Yuuri gets absolutely shit plastered, ties his tie around his head in true Japanese salary man style, and challenges Yurio to a dance off.
- He gets even more shit plastered while dancing and latches on to Victor like a barnacle, possibly challenges HIM to a dance off, invites him to their family hot springs and asks Victor to be his coach in a moment of drunken courage.
- Victor is taken with this adorable drunk Japanese man and ends up dancing the tango with him.
- Yuuri is not done getting shit plastered and then gets into a pole dancing contest with Chris (at the point he and Victor are dancing, his clothes are still on).
- The next morning Yuuri remembers none of this. He gets depressed over the GPF, gains some weight, leaves Detroit to go back to Japan.
- Victor has been maybe thinking about the adorable Yuuri who swept him off his feet at the banquet and made him blush and MAYBE HE IS PINING??
- Yuuri skates “Stay Close to Me” and the video goes viral.
- Victor sees it, realizes holy shit that’s the guy and he’s skating my love song, to hell with this I am going to Japan to go get him.
- Shows up fully expecting Yuuri to be DTF because of what happened the last time they met only to have Yuuri go all blushy and shy and seem like he doesn’t remember.
- Victor is JUST AS CONFUSED AS YUURI.
- Yuuri is accidentally the Casanova in this story and doesn’t even know it.

I have to rewatch the WHOLE SHOW with this new information in mind holy shit.

10 ways in which fans rewrite their favourite television shows:

1) Recontextualization - the production of vignettes, short stories, and novels that seek to fill in the gaps in broadcast narratives and suggest additional explanations for particular actions.

2) Expanding the series timeline - the production of vignettes, short stories, novels that provide background history of characters, etc., not explored in broadcast narratives or suggestions for future developments beyond the period covered by the broadcast narrative.

3) Refocalization - this occurs when fan writers move the focus of attention from the main protagonists to secondary figures. For example, female or black characters are taken from the margins of a text and given centre stage.

4) Moral realignment - a version of refocalization in which the moral order of the broadcast narrative is inverted (the villains become the good guys). In some versions the moral order remains the same but the story is now told from the point of view of the villains.

5) Genre shifting - characters from broadcast science fiction narratives, say, are relocated in the realms of romance or the Western, for example.

6) Cross-Overs - characters from one television programme are introduced into another. For example, characters from Doctor Who may appear in the same narrative as characters from Star Wars.

7) Character dislocation - characters are relocated in new narrative situations, with new names and new identities. 

8) Personalization - the inserted of the writer into a version of their favourite television programme. For example, I could write a short story in which I am recruited by the Doctor to travel with him in the TARDIS on a mission to explore what has become of the Manchester United in the twenty-fourth century. (However, as Jenkins points out, many in the fan culture discourage this subgenre of fan writing.)

9) Emotional intensification - the production of what are called “hurt-comfort” stories in which favourite characters, for example, experience emotional crisis.

10) Eroticization - stories that explore the erotic side of a character’s life. Perhaps the best known of this subgenre of fan writing is “slash” fiction, so called because it depicts same-sex relationships (as in Kirk/Spock,etc.)

- Henry Jenkins Textual Poachers pg 162-177

Let’s all appreciate how INTELLIGENTLY  ‘What’s the use of feeling blue’ is crafted as a sequence

- derived from the Diamond lifemotif & therefore recontextualizes it; Especially clever as it was worked into the creepy ending theme leading up to this. 

It adds a bit of a dark funerary quality to the previous moments it showed up in. 

- It is worth noting that the diamond theme was deliberately designed to be alian and non-musical, so they esentially set a challenge for themselves

- And the song actually stays very faithful to the creepy jingly ambient sounds, though they somehow craft them into a melody and lets YD’s va do the rest as she conveniently has a very strong dramatic voice. 

- subverts the expectation of a villain song while still fulfilling all of it’s functions both musically and narratively - low notes, contralto, minions singing backup, swingy sort of melody, expositioning the antagonists and setting both the physical and ideological/thematic confrontation… (They represent, or are the leaders of a society where everyone - even the local God-empresses! - has to shut out your feelings to ‘function’, which is the logical opposite/antithesis/anathema to Steven) but at the same time it’s not a bragadocious declaration but a look beneath the queenly masks/ into their private lives, though they’re not quite ‘out shopping’ as this does inform why/how they act in their day jobs as evil overlords. As usual SU distinguishes itself by clever use & tweaking of the tools

- electro meets jazz, which is in itself creative, though if you wanted you could probably read further things into that. The Diamonds are basically electro outside, Jazz inside. It’s also a further pun (eve heard of ‘blue notes’?)

- Conveys both character, style/aesthetic and other information with astounding density basically. 

 - As cool as the music is lets not forget the roles the visuals play -  Their surroundings are quite ‘emphatic’ in the ways all that pink light drowns out their color palettes like a domineering shadow, how Yellow Diamond keeps moving around the bubbles for emphasis, and last bt not least the use of body language to establish both their individual characters and their relationship. BD is relatively static & phlegmatic and waterlike in her motions, sort of recoiling away from both YD and her responsibilities at the beginning, and hugging that pillar for comfort. YD, by contrast, does plenty 

Both have a distinct aristocratic tinge in words and gestures though BD goes more in the ethereal/mystically direction while Yellow is a lot more abrupt and stiff there (including when she’s briefly overwhelmed and ends up as the comfortee)

This scene would flat out not work if not for the very unambiguous comforting/ sister-like body language at work there, how the bond is conferred through both word choice (’we still love her’) and physical touch/ gestures.

Particular mention to that one shot where we see them holding hands with both their gemstones shown in the background (and their similar placement highlighted), more or less at the exact point when we realize that they’re both equally affected despite their somewhat different reactions. 

- Speaking of the environment though: Éven if they’re having this very private, very un-pharaonic moment, they don’t allow us to foget that they’re villains - most of those Rose Quartzes were probably innocent, the “silly quirk” they’re discussing involves keeping sentient/intelligent beings as pets, and we keep seeing how much Ruby and Saphire are still terrified of BD; Also, Greg’s and Steven’s escape attempts lampshades their titanic sizes. Not to mention that they go right back to cold bitch mode/’command voice’ when the door opens and their underlings show up. They also showing off their fancy singing slaves. 

The ‘props’ are as creepy as if they were sitting in a cavern lined with human skulls and bones, but in a clever sci-fi way that makes it even more insidious.

- Though it is also worth noting that it’s greg and steven - almost complete outsiders! - who get to see this scene, rather than their former subjects such as Peridot, Garnet or Pearl. If they did see they’d hardly be compassionate with their former overlords, (not could they in any way be expected to be) but thing are different for Steven who’s probably able to have a wider perspective on this and recognize that they’re still people, even if they are evil overlords. 

I have to hand it to YOI’s writers - they’re fucking brillliant.

They knew exactly how to draw in a fanbase and they utilized some really recognizable yaoi/BL tropes. It put some people on edge, sure, and they probably knew that they’d alienate a portion of their fans from the start by using them, but then they took the opportunity, 10 episodes in, to recontextualize literally everything. 10 episodes in which we know so much about Yuuri and we’ve seen his relationship with Viktor develop so much. 10 episodes, where everyone who’s still watching still remembers that iffy beginning but we trust the writers enough because they’re doing so well now…

And they gave us a 2-minute credit gag, canonized in the show itself, of a drunken night of dance-offs, that managed to recontextualize every single sketchy trope they used earlier.

Viktor had had this awesome, amazing night with this drunken dork who got completely hammered and railroaded the entire banquet for the sake of a dance-off where he begged Viktor to be his coach if he won said dance-off. And this kid, who did awfully at the GPF, was actually fucking amazing on the dance floor, and Viktor was probably thinking “fuck I just might”

But then then at the airport, when Viktor tries to get Yuuri’s attention again, Yuuri brushes him off. It’s not Viktor being a self-absorbed “oh everybody loves me” famous skater - he actually remembered what a good time he and Yuuri had at the banquet and was probably trying to get a good sober picture of this ridiculous boy.

Now Viktor’s probably thinking that it didn’t mean anything, that Yuuri would’ve asked any of the top skaters to be his coach, that Viktor was just there and ended up being targeted by coincidence…up until that video comes up. And after the banquet? That mimic-skate probably read like a goddamn love letter. (I mean, from Yuuri’s perspective, it kind of was, but he never had any intention of actually giving said letter to Viktor.) So Viktor says fuck it, this kid did win that dance-off and he actually has amazing talent on the ice and has so much potential and goddammit coaching sounds fun and even if it doesn’t go well he’ll at least get to be around this sexy pole/stripper/break-dancing dork and that sounds like a fair trade, okay?

So he flies his ass to Japan now knowing that Yuuri’s family owns a hot spring and just shows up because lol why the fuck not. And he thinks Yuuri remembers that night. Sure, Viktor can buy that Yuuri’s much more open when he’s drunk and he’s just shy and reserved because he’s sober, but Viktor’s already aware that Yuuri has this sexy, seductive side to him and he tries to coax it out of Yuuri by being seductive right back at him. It’s complete payback for that night! Viktor eventually chills because he’s learning about what kind of man Yuuri is and how a relationship between them is going to work.

It’s also why Viktor was so sure that Yuuri could do the Eros routine - he’d seen that boy mostly naked and doing ridic things with that limber body of his. (Besides, having a 15-year-old doing a sexual routine? Let’s not, a’ight?) Viktor knows that Yuuri can be forward, assertive, sexy, and seductive - he just needs confidence (which is what the alcohol was giving him before).

And on another note, Chris’s greeting? So much less sketchy now. I mean, his routine is still…. But that’s because he’s just That Guy, but not That Guy that blithely crosses boundaries, apparently! He and Yuuri had been in their undies on a stripper pole - I mean, after that, some ass-patting seems rather tame.

It also gives more context to every other skater just automatically assuming that Viktor and Yuuri are banging - they saw them dance! They saw that chemistry! Between Yuuri’s blatant flirting and Viktor actually agreeing - well what the fuck else were they supposed to think?

I’m just so happy and so impressed that the writers managed to use drunken debauchery as a context to make the sketchy tropes less sketchy. THAT’S SOME SKILL.

So I know that there are broadway nerds more knowledgeable than me who probably said this better than me, or rebutted it too, but

The fact that Hamilton won a bajillion tonys and Allegiance was off broadway in three months is a damn shame.

And no shade or disrespect meant to the obviously talented and dedicated people who worked on Hamilton,

but Hamilton is white people stories, and Allegiance was *not* about white people.  At all.

I mean, I know that Hamilton is subversive with race, and I know there’s an intention to sneak in non-white experiences through the lens of the founding fathers and that is also *really important*, and the lyrics and music are just better by most metrics, but at the end of the day the stories being told are stories of long-dead white people cleverly recontextualized.

(And, I mean, let’s be real, the music is good and there are lots of classic hip hop homages in there if you know your shit, but you can’t dodge the feeling of “how can we make hip hop palatable to the white people who love npr” through the whole musical)

Allegiance barely even has white people in it, and the stories it tells are *completely* Asian-American stories, stories that happened in living memory and traumatized living people and are potentially going to be happening again to a different demographic altogether today.

Again, I’m not trying to take away from Hamilton’s accomplishments or say that this has to be a zero-sum game (because it absolutely shouldn’t be), but I am saying in this white-dominated media market

Hamilton won a bajillion tonys and Allegiance was off broadway in three months and that is a goddamn shame

Throwback Thursday!

In 2005, we opened Zoe Keramea: Geometry of Paradox, featuring two- and three-dimensional works on paper by the under-recognized New York-based artist. The exhibition reflected Keramea’s sense of delight in visual challenges as she invited viewers to involve themselves in the mental “unfolding” of the work. The drawings she produced for the exhibition used deceptively simple motifs, such as lines, knots, and geometrical shapes, to challenge spatial conventions.

Keramea has been exploring enfolded surfaces through sculpture, printmaking, drawing, and ceramics. Her work is deeply rooted in the history of geometrical figuration as a system of both logical and metaphorical thought. For the artist, geometry proposes an array of conceptual potentialities with internal logics that are available to be analyzed, recontextualized and turned inside out or upside down. Although lines have strong cultural associations for Keramea (she was born in Athens and raised in an environment full of shipping lines and fishing nets), the lines in her art function as conceptual problems. For her, lines not only reflect the path between two points, but are elements project space, define context and imply volume.

Images:

Knots II, IV, VI, VIII, X, 1990. Zoetype, each 7” x 40“

Spikey Moebius, 2002. Paper and thread, 8” x 8”” x 4 ½”

Noutilus Antecedent, 1998. Graphite on paper, each 7 ½” x 7 ½” 

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Forgive me if someone pointed this out already but I feel like that scene recontextualized a thing or two

EDIT: Some more good thoughts here! http://tat-buns.tumblr.com/post/148079557410/imusicalminji-ahunkahunkaburninlove

Make a move. The board is cleared. Get on with it.

The two biggest canonical obstacles for people to embrace a homonormative read of Holmes & Watson in the ACD stories have undoubtedly been Irene and Mary. This episode concretely recontextualizes both women to remove their presence as obstacles to accessing the full depth of care and intimacy shared between Sherlock and John.

The Baker Street scene at the end of TLD is a cathartic confrontation: Sherlock and John must confront the specter of each of the women–through memory/mind palace (Mary) and phone/heart (Irene), but they end up, the two of them, against the rest of the world, embracing and then walking on together, the ghosts of Mary and Irene left behind–not forgotten, but folded into the past.

Phone and mind palace/memory are potent symbolic devices, but they are abstractions, echoes of the obvious heart of the matter, just as continuing to insist that these two women are the ultimate partners of Sherlock and John is, at best, abstraction based on heteronormative expectation. In this scene, Irene and Mary are considered and acknowledged, but are moved into positions of auxiliary tenderness, while John and Sherlock are re-emphasized as the epicenter of tenderness and affection in this world and especially in the space of Baker Street.

The women, markers of decades of presumed normative intimacies, are allowed to fade back and Sherlock and John go forward together, partaking together in a small celebration of Sherlock’s life, especially potent in the wake of acknowledging the strife of Sherlock’s near death in this episode and harkening back to TRF. But in stepping back into the into the world together (for cake!), they lay to rest the two biggest reasons people continually refute their intimacy, Irene and Mary and get on with it already. Mary disappears, literally, from John’s subconscious vision and there are no more text sounds from Irene. It is just Sherlock and John, when all is said and done.

Importantly, space is opened a bit through reaching a new physically and emotionally raw and intimate moment so that they soon may stop refuting their intimacy to each other through so many layers of miscommunication and poor timing. The accumulated damage of these blockages has been cathartically, even painfully removed throughout this episode.

The presumed canonical blocks to the depth and care of their intimacy are fully, finally removed. Grieving is given its space and healing can openly begin and continue, acknowledged. The ghosts of past presumptions are laid to rest, first with viewers, and then finally, we surmise, for Sherlock and John.

The path is clear.

@neroslyre @kinklock @teapotsubtext @quietlyprim

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.” 

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

Dave & Karkat have one of the healthiest relationships in Homestuck

End “karkat is abusive” discourse - canon disagrees at every turn. The way people react to karkat’s fronting disagrees at every turn. Most importantly, Dave, an actual canon abuse victim, disagrees and identifies his experiences on the meteor as positive, so much so that it recontextualizes his entire childhood for him. 

End “dave bottles things up and can’t be honest about his feelings” discourse - canon shows us that Dave has become THE feelings jam master with every damn conversation he has post-retcon. 

End “dave and karkat are bad for each other” discourse - headcanons are one thing and salty shiphate is another, but tagging it “davekat” so you can be sure us shippers all see it and pretending like anecdotal “evidence” based on experiences that have nothing to do with the actual canon of homestuck and everything to do with personal projection somehow makes the actual content that was actually presented to us in actual canon something it’s not……… 

Don’t go tagging your thinly disguised shiphate. It’s rude and immature. Circlejerk with other antis all you want but have the decency to leave us out of your negativity.

That’s all, thank you for your time, thank god for DaveKat, and thank god for positive portrayals of m/m relationships in media. 

imo it’s not enough to say “stop whitewashing asian roles” it’s also important to say stop fucking plucking stories out of their eastern origins and repackaging and recontextualizing them for a western audience for money, period. this ghost in the shell movie isn’t just going to be shit because white people are playing the leads, it’s also going to be shit because the script and adaptation and production were all overseen by what i’m sure are overwhelmingly white american filmmakers. the REASON these films are so white is because they want them to feel white, western, etc. and sadly, i think you could pluck out all the leads from this movie and replace them with asian actors and you’d only be fixing the most visible part of the problem. 

just reminded myself of jon rafman’s shit ass music video for oneohtrix point never and how he basically did just “oh am i weirding you out?” by grabbing whatever ‘weird net’ shit he could from fmtownsmarty, fucking gurochan,and a hodge podge of other’s people’s videos and acting like he’s on the bleeding edge for jumping into other people’s net communities and waving shit around like he discovered fursuiters in bondage. just fucking trying to waltz his ass over to the moma or some shit waving around a deviantart animaniacs OC or the like, doing absolutely nothing interesting with his recontextualization, just popping out some boring ass “are you weirded out yet? huh?! there’s weird people out there!” like it’s 2005 and we’re still boggled by the thought of inflation fetishism

like roy lichtenstein for internet folx, just as hollow, just as unwilling to have his own ideas, and just as dismissive and condescending of the very material he cribs from, refusing to engage with the material he finds or the cultures cultivating it as if they’re actual folx of their own or are artists of their own and aiming for celebration for being a guy who basically functions as a living reblog of a “weird internet” blog shit to a video installation

i get heated about this tired ass hollowness, this engaging with the strange from a “oh aren’t they fascinating, but my showing this to everyone else is much more fascinating than they are” angle, this voyeurism with no sincerity and absolutely no creativity, a barton fink motherfucker who’s looking but not really listening

i can’t stand the lack of engagement, the inability to appreciate strangeness as it is and people as people, the inability to be sincere and see the strangeness in yourself, existing wholly as a voyeur who Knows Better, Somehow; the idea that being Awfully Smart And Important and showing off someone else’s work makes it more valuable than the person doing the work in the first place, as if it wasn’t art or creation before it touched your hands

2032 some motherfucker gonna be getting applauded in an art museum for taking someone else’s Biker Mice From Mars foot fetish fanart and putting it in a frame - “he saw this weird shit, and he showed it to us! brilliant!”

as if the person making it wasn’t communicating something themselves, even in a format like fucking Biker Mice From Mars foot fetish fanart posted to the internet, which shows more baring of the self than so many, even if it’s in a “low art” fashion

i can’t stand that attitude, that condescension, that idea that because you engage with the weird without “being” weird (a lie, often, told to the self), it makes how you present it inherently better than how it originally was

this probably wasn’t a necessary post at all, but i get heated. i just know some motherfucker soon enough gonna trace some furry art from 1999, slam it in a frame, and call themselves brilliant

roy lichtenstein ass motherfuckers who don’t appreciate anything but themselves

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Patton’s willingness to work in any style of music, especially ones he’s unfamiliar with, is reminiscent of Zappa’s parodic takes on disco, punk and doo-wop; Waits’s Adaptation of beatnik and hobo personae; and Partch’s transformationof hobo graffiti into modern classical music. This sort of wide-ranging cultural appropriation has long been a hallmark of Californian art, whether it be the gas station paintings of Ed Ruscha,the recontextualized Gumby drawings of Raymond Pettibon or the “hot rod graphics gone psychedelic and hostile” that make up the foundation of Robert Williams’s vein-bursting canvases.

Sitcom Thursday, Arrested Development-style! It turns out that when you take something that’s funny and then apply it to characters with completely different backstories, it can actually recontextualize it into something fairly depressing!


Wanda’s not going to make Clint disappear. She’ll probably just go all hardcore suburban mom trying to get a coach to put her kid on a team on him.

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.