ArtStation - Showtime vs Lost Boy Collab with Ash Thorp, by Maciej Kuciara
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ArtStation - Showtime vs Lost Boy Collab with Ash Thorp, by Maciej Kuciara
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ArtStation - Brekka, by JAN DITLEV
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venom knew they could trust eddie as soon as the two of them merged together bcus venom searched tom hardy’s memories and saw him help save all those lesbians in mad max fury road
ArtStation - Red eye., by Elijah McNeal
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action vs. horror
What is the difference between an action movie and a horror movie?
They both involve peril, violence, and literal life-and-death stakes. They can involve very similar conceits–characters trapped in a location with something bad, for example. They can both be spectacularly bloody, or not. Like several of their genre cousins, including the survival, war, and even sports film, they can be ways of vicariously exploring our relationship to violence. Like the last survivor in a horror flick, the action hero must undergo a series of physical tests, often including capture and suffering at the hands of the film’s antagonist. So other than marketing, what makes us code Die Hard as action and The Texas Chainsaw Massacre as horror?
Carol Clover posits an interesting idea in her book Men, Women and Chainsaws: Gender in the Modern Horror Film. She argues that the key difference between an action movie and a horror movie is the amount of time the protagonist spends in a position of vulnerability versus a position of power.
If you imagine a graphical representation of this, it might look something like this:
An action movie is basically an extended demonstration of the main character’s physical prowess in the face of increasingly difficult challenges. There might be peril–especially at key moments like the midpoint and the end of the second act–and a protagonist might find themselves in a position of extreme vulnerability for a scene or even a sequence, but we’re basically confident in their physical and mental integrity in the face of danger. That’s why they’re the hero–by definition, that’s the reason our camera is watching this person and not Bystander Running From Aliens #1.
A horror movie, by contrast, looks something like this:
Horror movies are all about vulnerability. Horror characters spend almost the entire movie wallowing around “below the line,” in that soup of pain and terror near the vulnerability end of the axis. If the movie has a “final girl” or other lone survivor, they spend most of the film in a state of victimization. It’s only in the third act (or sometimes only in the very last sequence) that they’re able to fight back and claw their way into a position of power vis a vis the monster of the film, eventually escaping and/or killing their tormentor.
Clover argues that this is the appeal of horror. The vicarious experience of extreme vulnerability, through our identification with the victim-hero protagonist, is interesting to us, even if we consciously identify it as uncomfortable.
She also argues that this basic division is part of what gives these genres their gender patterns. Action, on the “power” end of the spectrum, is still primarily the domain of the male hero. It is also predominantly the domain of the professional violence worker protagonist (state-sponsored or freelance): cops, soldiers, assassins, vigilantes, spies–people for whom there is a social expectation of being somewhat good at violence.
Horror, on the “vulnerability” end of the spectrum, is one of the few genres where the female protagonist is so common the trope has a name–the “final girl.” It’s also a genre in which ordinary-person protagonists are the norm. Horror protagonists are all guerrilla warriors–they fight back with whatever they can find, to the best of their abilities, sometimes with nothing more than household objects and chutzpah.
And while there is certainly a minority tradition of female action heroes, from Sarah Connor to Katniss Everdeen, I’m hard-pressed to think of a similar list of “final boys,” in the way that Clover uses the term for a character who is allowed to be “abject terror personified.” The horror genre is huge, so they certainly exist, but not at the level of pop-cultural saturation of Halloween’s Laurie or Nightmare on Elm Street’s Nancy. Perhaps male vulnerability and terror still rattles the cage of gender norms more than female power.
The point of this is not to say that horror is better than action, or vice versa, or to posit that these are hard-and-fast distinctions. Genre should be thought of as a continuum, not a set of discrete categories. (So should gender, for that matter.) This is all further complicated by the fact that “action” is both an element and a genre descriptor. (The Silence of the Lambs and Heat would both be described as crime thrillers by genre; one has almost no action while the other has a lot.)
That being said, I do have an interest in what we can learn from that genre that’s considered the lowest of low culture. I think how much you like horror has a lot to do with how interesting you find the vulnerability side of the scale. I find it very interesting. In fact, I think watching someone be vulnerable is about one of the most interesting things you can watch on screen–and watching someone be vulnerable and then realize they are powerful is even better. Of course, there are a lot of examples of this outside the horror genre–Bridesmaids is full of vulnerability, and that’s what makes it so funny. But in horror, we have a whole genre whose raison d'etre is vulnerability, and I think there’s a lot worth studying there for moviegoers and filmmakers of all genres.
By Cassandra Jean
We should be more pro-active or we’ll see more of such sad fates of honest people.
And the utterly ironic thing is I’ve seen repeated tumblr posts of that iconic photo absolutely slagging the shit out of Peter Norman as “lol white guy so uncomfortable” “Why the fuck isn’t he supporting them”, etc etc.
If the right wing had set out to neuter the left in the US, they hardly could have done it better than by spreading impossible-standard purity-test bullshit among young progressives.
Right now, we desperately need progressive leaders to step up and help lead and motivate people to protest, resist, and organize a massive Get Out The Vote effort for 2018. But every time a leader steps up, someone finds out that there was this one time they smiled at a racist so they’re UNCLEAN PROBLEMATIC, and the significant part of the left brainwashed by this purity bullshit decides Not Good Enough and slides back into apathy.
Make no mistake, if Bernie had been the nominee in ‘16, many purity-test progressives would have stayed home once they heard about his perpetually locked and loaded support for Vermont’s gun industry and his inaction when a company that paid his wife dumped hazardous waste in a poor minority community.
That’s not a slam on Bernie. You cannot accomplish shit in this imperfect world without sometimes compromising– or even doing some harm to prevent worse harm down the line. (That’s what Nazi punching is: you do small harm to the Nazi to prevent them from doing worse harm to nonwhites. Wide swathes of the left can’t even agree on this in principle. WWII should have been a series of peaceful protests, apparently. In the choice between protecting nonwhite and LGBT people vs. giving up the moral high ground, the left seems to care more about the moral high ground.)
In an imperfect world, no one can act in the world (even to change that world) and stay perfect. But rather than engage with this basic reality of existence, a significant part of the progressive base has decided it’s better to preserve their purity by never doing anything at all. Or worse, never doing anything but throwing rocks at what’s ostensibly their own side.
Meanwhile the party of “family values” votes for Trump, an adulterous serial divorcee. The party of “law and order” votes for Trump, a man found guilty of fraud. The party of “pull yourself up by the bootstraps” votes for Trump, a rich man’s son who ruined everything he ever touched but kept failing up because of his father’s connections and his own successful famewhoring. And don’t let Trump’s chaos and incompetence distract from this fact: the right wing is getting what they voted for. They got a Supreme Court justice (one that, by every law and norm in our government, was Obama’s to appoint). They’re getting tons of judicial appointments that will support regressive policies for decades to come. They got cover to continue to gerrymander districts so that they can keep power even if the actual number of GOP voters is in the minority. Not only did Clinton win the popular vote over Trump by millions, congressional Democrats received more votes than their GOP counterparts and yet many lost due to rigged redistricting. Not to mention all the underhanded shit the GOP routinely does during elections, and gets away with, like putting dozens of voting booths in traditionally GOP-supporting areas and far fewer voting booths in traditionally Democratic areas.
Meanwhile progressives waste monstrous amounts of time and energy perpetually vetting each other for right-think and Wokeness. When the left shoots themselves in the foot this many times, over and over and over again, you gotta wonder if Cointelpro ever ended. I’m not saying that conservative infiltrators spread purity-test standards and encourage progressives to turn on each other. I’m just saying that the outcome is the same as if they did: eternal self-sabotage for the left, permanent minority rule for the right.
setup and punchline
The artist is luo li rong
The statue doesn’t have big enough titties to have been made by a man.
I know I’ve reblogged this before but the schadenfreude is too delicious.
Be humble for you are made of earth. Be noble for you are made of stars.
Serbian Proverb (via thestylishgypsy)
You cannot find peace by avoiding life.
Virginia Woolf
Does it bother anyone else that there are parts of your life you don’t remember? You have done and said things that you don’t even know about anymore. That means you don’t even have the right perception of yourself because you don’t even fully know who you are. However, something that you’ve forgotten about could be a prominent memory in somebody else’s mind. It trips me out.
ArtStation - Blade Runner - Spinner Interior, by Frank Capezzuto III
The only reason you come to film-school is to get your hands on the equipment, and to make the movie. They can't tell you how to make the movie.
Martin Scorsese, quoting a New York University professor. [x]
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Justice League - SDCC Poster
Check out the trailer here.