mycakeisdough @mycakeisdough - Tumblr Blog

“falling garden” by gerda steiner and jorg lenzlinger for 50th venice biennale in 2003 in church san stae - grand canal.

weirdlandtv

THE WANDERINGS OF A COMET (1844). French caricaturist, J. J. Grandville (1803-1847).

gay-erotic-art-fan

monsieurlabette

Woo Dun

indigodreams

Lindsey Carr

for-the-duke-of-paris-deactivat

♕

orphneacheron

THE CAPTIVE.XXVIII.VIII.MMXVIII. by Orphné Achéron.

pencil, ink and gold.

Alejandro Pasquale

lordofmasks

Moon Altar | Camille Chew

Available on Society6.

theglowpt2-deactivated20200101

straight men trying to make Serious war dramas and accidentally making incredibly tender homoerotic cinema is the funniest thing

beachdeath

In his essay, “Masculinity as Spectacle,” Steve Neale seeks to extend Laura Mulvey’s work on the male gaze and to challenge her assertion that the male or male-identified spectator can never look upon the male body as an erotic object. To challenge Mulvey’s assertion, Neale identifies the mechanisms mainstream Hollywood cinema uses to represent the male body as erotic. One way of doing this, Neale argues, is by making the male body the target of violence. In the war film, a soldier can hold his buddy – as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh – as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege – as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover – as long as he is riddled with bullets. Violence makes the homoeroticism of many “male” genres invisible; it is a structural mechanism of plausible deniability.

-Kent Brintnall