this film is impossible to colour

White feminism is extremely pervasive in film culture.  There is definitely a domination by men who are everywhere, who are loudest, and whose voices are most easily accepted and praised.  But then you get the reaction of white feminism, which is to counter the one thing that oppresses them: men.  However, we live in an age where an ignorance of intersectionality is nearly impossible, especially if you’re on social media.  You can’t live in a segregated fantasy of MEN VS WOMEN.  This does not deter white feminist film critics from speaking over women of colour (or other marginalized women, by class, disability, sexuality, etc); they simply speak over other marginalized women with empty statements.  A suggestion that they spoke to their friends of colour for approval on certain topics, or posts which are littered with “I know this is so much worse for other women,” or empty privilege checks.  It’s all empty: solidarity is a shallow way of showing you’re accountable without doing anything, as it’s little more than going “I know women of colour exist; now on with my opinions,” while checking one’s privilege is just a perceived “free pass,” like “Well, I acknowledged I’m white, so now that that’s out of the way I can keep talking.”

The thing is that of course all women, even white women (or straight women or cis women or ablebodied women or whatever) are marginalized.  Our/their voices are not heard.  Film culture is a boys’ club.  But the struggle seems to be to get the least marginalized into that boys’ club.  And when you only hear the voices of white women concerned with being white women, whose attempts at intersectionality are entirely surface performance, you get a reduction of the films that are promoted.  Varda and Akerman feel tokenized and reduced.  Varda is nothing but Cléo de 5 à 7, Akerman is nothing but Jeanne Dielman.  Sometimes Chytilova’s Daisies gets thrown in.  But it’s reduced to “films with women directors”: Varda’s documentaries feel like they’ve been made irrelevant, while I have never seen discussions of her essentialist conception of gender.  Akerman is reduced to “long takes of domesticity” without engagement with her mental illness, queerness, Jewish identity, her engagement with history broadly and within cinema, her anger and despair.  And Daisies is never within the context of communist Czechoslovakia, it’s just a cool film of girls having fun.  You lose so much when the only concern is “But GIRLS are on SCREEN doing GIRL things! This is so DIFFERENT from what the FILM BROS like!” which is true, and a distance from ‘film bro’ culture is always necessary.  But we get bogged down in the small things.  We can accept a couple white girls in the boys’ club when all they do is gently promote simplified versions of female tokens.  It is always difficult being a woman.  It is easier when you’re a white woman.  You don’t need to speak over everyone because you’re marginalized in one way.


“I remember a young Hobbit who always was running off in search of elves and the woods, who’d stay out late, come home after dark, trailing mud and twigs and fireflies. A young Hobbit who would have liked nothing better than to find out what was beyond the borders of the Shire. The world is not in your books and maps; it’s out there.”

anonymous asked:

what did you dislike about the hobbits movie? this is an honest question, lots of people have dif. opinions and i was curious.

np i feel like i’ve said it a lot and a lotta these points have been made by better ppl but here’s a masterpost i guess. 

  • it relies on super lazy gross-out humour instead of actual tolkien wit.
  • it has transmisogyny sprinkled throughout in scenes(”hilarious” man in dress trope) and kili confusing a elf man for a woman :)) (which is also homophobic af since my identity as gay is made into the butt of a joke! i sure love that!! and gender identity jokes how :)) fresh :)))) )
  • super poorly paced
  • so much CGI that every shot, quote “looks like a painting that got jizzed on by the sun”. But honestly it stings the eyes and is at the level of 300. I’m the hugest WETA workshop fan and collect every statue and prop I can, but every background shot looks awful.
  • A total boy’s club.
  • Boring long-ass action sequences that have no tension because every good guy is not acquintanced with physics.
  • even though Jackson could’ve changed this, as he did change a lot of the dwarves’ roles, he went with the easy route and made Bombur’s entire existence into a fat joke.
  • Little to no development of the dwarves(there, i’m grateful to the fandom ^^)
  • No attempt was made to include anything but white people in the film, furthermore, actresses of colour were even discouraged and not allowed to audition. 
  • Impossible to follow all plot points at first viewing and without context or backstory. If you didn’t watch the extended cuts with Thranduil’s tragic backstory, you’re fucked.
  • Who the Fuck is Fili?
  • Movie didn’t have guts to make romanceable dwarf look classically dwarfish.
  • Azog was the most boring villain in villain history tbh. I wanted some backstory on him??? but no. nothing.
  • all in all most movies are “meh”(though i like them!) but BotFA was a total mess. It looks like PJ made no effort whatsoever? 

Basically that. I really don’t like it. but this is just my opinion feel free to disagree or argue ur case.

Also, it gets a bit on my nerves(because apparently i’m the “no fun allowed” robot lol i’m super pissy) that ppl are like “BAGGINSHIELD IS CANON YA’LL” because it isn’t…. and it makes me sad. it’s at most queerbating. Peter jackson didn’t have the guts to go with it, and it’s not canon representation at all. I guess it makes me bitter bcs i’ll never see myself represented in these big movies but ppl act as if it’s canon still lmao. 


I was thinking how nothing lasts, and what a shame that is.
                                                                                                             Some things last.


‘Some may imagine that a noble quest is at hand. A quest to reclaim a homeland and slay a dragon. I myself suspect a more prosaic motive: attempted burglary, or something of that ilk. You have found a way in. You seek that which would bestow upon you the right to rule: the King’s Jewel, the Arkenstone. It is precious to you beyond measure. I understand that. There are gems in the mountain that I too desire. White gems of pure starlight. I offer you my help. I will let you go, if you but return what is mine.’


get to know me meme: favourite youtuber –> JACK HOWARD

i was in my room and i exclaimed “i was wondering what would break first your spirit or your body” and then just squished a mosquito 

And have a step-by-step gif of the progress of the last painting I uploaded. Just because I felt like it and it’s always good to see how something starts and ends. :D At least for myself.

Step 1: Rough draft
I started out on A4, drawing a dragon and the lone figure facing each other. But somehow I felt like I wanted more space for the abyss between them. And more dragons. So, paper 2 was simply attached with a bit of artist tape.

Step 2: Rough draft 2
I cleaned the initial idea up a bit. I rarely use markers for this, but here it worked well to highlight all the important lines.

Step 3: Clean lines
I copied the highlighted lines onto Canson Mixed Media paper for illustrations and started to draft out the details and perspective.

Step 4: Base Colours
Most of my base colours are done with watercolours. I normally have a rough idea what colours I want. Here, I initially thought of the light of the figure as the source of colour and the rest being in shades of gray. But somehow red seemed to work far better, giving her a sun-like appearance.

Step 5: Details
The details here are done mostly with markers and fineliners. Not much I can say here besides to stay patient and determined. d: I tend to watch series on the computer while working on repetitive and small details, so I don’t get bored.

Step 6: Highlights
Leaving paper white is often impossible, so I paint the light over the dragon near the end of the process. You can use masking liquid or even masking film, if you’re patient enough, but I know I’m not. So, I paint the light on top of everything else with acrylics.

Step 7: Gradients and scanning
After I add the light with acrylic paint, I normally go over the whole drawing with Aero Professional acrylics paint or ink. It’s see through and ideal to give a painting or drawing a gradient and strongly saturated colours. Gradients are a great way to guide the eye to the focus points. And saturated colours can make even a small light a lot brighter.  

(Step 8: Regret
Realizing that the drawing looks far better without the bottom part and the A4 would have been the better solution. Live and learn. :’D Was still a lot of fun and somewhat meditative to draw out all the scales on the bottom part of the painting)

(I’ll stop spamming you with that painting now d: )