this hole you put me in wasn’t deep enough

just having fun?? A, 20s, they/them or he/him (either is fine, rly). i follow/like from gothcrafts

[csny]

now you can see the world though my eyes.

[themayorautumn]

fun little after-show

[asphaltworld]

An Archive of Our Own, a project of the Organization for Transformative Works

we interrupt our usual tomgreg programming to share my most recent fic, which is for the western vampire movie Near Dark. if you like vampires, maybe check out the movie and/or my fic. 😇

[o-chitose]

nerosporus

[residentshrike]

deploying the gregweiler

[andrewbiird]

normal. normal way to act

[bobbygio]

Luis Caballero

[tropotropotropo]

Sporus my beloved

[ilta222]

just a sea slug going about its day

[thefugitivesaint]

Why Japanese Director Kinuyo Tanaka’s Films Are Criminally Overlooked

As the BFI dedicates its latest film season to Kinuyo Tanaka, we highlight five vital tales of female agency and desire by one of the country’s first-ever female auteurs

“In the 1950s, Japanese cinema enjoyed what is widely discussed as its second “golden age” – a period in which the country’s filmic output was considered among the best in the world. This was a time when directors like Akira Kurosawa (Rashomon), Kenji Mizoguchi (Ugetsu) and Masaki Kobayashi (Harakiri) were winning top awards in Europe. Japanese genre classics were transforming the shape of Hollywood – as Seven Samurai, Yojimbo and The Hidden Fortress were soon-to-be adapted to create The Magnificent Seven, A Fistful of Dollars and Star Wars in the West. And as Godzilla was born out of the atomic destruction of Hiroshima and Nagasaki, Yasujirō Ozu (Tokyo Story) was creating gentle cinematic works that are today admired as some of the greatest of all time.

But while the stars of the screen were both male and female, the influential figures behind the cameras were predominantly men; the effect of a deeply patriarchal society historically bound by tradition. Most discussions of this deeply influential period of global cinema, in fact, will have little to say about female filmmaking at all – there were so few figures consistently working in the field. It was not until a young Naomi Kawase (Suzaku) won the Caméra d’Or at Cannes in 1997 that women filmmakers of Japan truly found sustained recognition overseas.

Much-welcomed, then, is the BFI’s latest film season, in collaboration with Edinburgh Film Festival (EIFF) and Janus Films. Titled Kinuyo Tanaka: A Life in Film, it explores the outstanding works of one of the country’s first-ever female auteurs – whose incredible and under-seen films have been newly restored in 4K. A screen icon in her own right (highlights from her incredible acting career, including collaborations with nearly all of the aforementioned filmmaking giants, are to be shown in September), Tanaka defied the male gatekeepers of the industry to carve out her own career behind the camera. She thrived in the process, delivering works that matched those of her male counterparts and often surpassed them.

Though her directing career was short (Tanaka completed six films in nine years in total), the stories she told were vital tales of female agency and desire that were essential to the cinematic development of one of the world’s great filmmaking nations.“

[tinaseh]

Hand Sculpted “Maelstrom” Cabinet by Caleb Woodard Furniture commissioned by Kelly Wearstler, 2022.

[rebvilla]

his attack dog

[antiqueanimals]

Animals. Written by Stanley R. Kegler. Illustrated by Sam Savitt. 1961.

[empresstommy]

[successionsuccs]

tomgreg regency au

[pomegranateruin]

look at me

[pomegranateruin]

uhhhhhhhhhhhh. tom? you okay, man?