🧿🍑🌞

georgia. 32. dale cooper/LCDR data/a touch of bad wolf. the strength we need is all around us. funky-style. ☀️taurus / leo 🌙/ scorpio⬆️

[virmillion]

i recognize that twitter is on an eight year tumblr delay but this person on tiktok really said tumblr university 2

[deaddolin]

manager my bualls hurt can i go home.

[nervoussquidward]

[periodedits]

IN THE MOOD FOR LOVE (2000) dir. Wong Kar-wai

[kelogsloops]

The painting process I made last month for an art challenge! I’m still not a fan of painting with green yet, but I’ll give it another go sometime and keep on trying!

🎵 - ’ill miss u’ by saidno

#brbchasingdreams

prints | tutorials

[caliro]

when animals look back at you like they’re the girl with the pearl earring

[velephia]

[georgiaodamn]

[catcrumb]

[midiport]

[coolfatcat]

[right-2-rebel-deactivated202210]

[dykecostanza-deactivated2024112]

[adhdtho]

your 20s are about fucking up your hair and getting long overdue medical diagnoses actually

[pseudomantis]

Seriously so haunting when an adult is proud of not liking vegetables

[catburger4]

mannys rules @/6sleet on ig

[leztat-deactivated20230701]

Power dynamics in Beauty and the Beast (1946) dir. Jean Cocteau

“I do not seek to please or conform to any standards” Cocteau once said in reference to his critics, “but I do request that I be understood”. In this sense, most of Cocteau’s frustrations grew out of his feeling of artistic persecution. Just as his homosexuality prevented him from being accepted in traditional French society, his unwillingness to subsume his idiosyncratic personality into either the surrealist or poetic realist camps meant that he was also discredited by the critical elite. (…) [Belle] desires an adult relationship, one where she can claim her own sense of agency and will not be encumbered by the expectations of paternalistic male figures. (…) Cocteau’s implication is that the castle represents Belle’s fantasies: a lush score is introduced, she is decorated in lavish gowns, the landscapes are rendered in soft focus, she is unperturbed by her meddlesome sisters, and (most importantly) she is given the opportunity for romantic liberation. The Beast gains her affection through respecting and listening to her concerns, and by not being an imposition on her freedom. Within the castle landscape, Cocteau merges these master/servant dynamics with his interest in thematic dualities: the blending of two separate identities into one.

(…) Belle and The Beast, despite the boundaries of class and appearance are bound by the similar creed of the outsider. The castle defies rational logic, and therefore is conceived as separate from Belle’s “waking life” of complacency and regulation. The world of the castle represents escape: a shared experience of dreaming that is akin to the “conscious hallucinations” of the surrealist aesthetic. It is also a tone that Cocteau uses to represent love: in this illusory space, divisive signifiers cease to be of much significance. 

(Nunoda, Erin (2012) “La belle et la bête: Stylistic Convergence and the Subversive Imagination of Jean Cocteau, “Kino: The Western Undergraduate Journal of Film Studies: Vol. 3: Iss. 1, Article 9.)

[aye-write]

It’s good for the soul okay

[milksockets]

hajime sorayama in marquis magazine no. 9

[fieldrecording]