Edgar Allan Poe, from a letter to Mrs. Maria Clemm, July 1849
Show & Tell
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occasionally subtle
let's talk about Bridgerton tea, my ask is open
Cosimo Galluzzi
Stranger Things
cherry valley forever

if i look back, i am lost
noise dept.
Lint Roller? I Barely Know Her

titsay
ojovivo
$LAYYYTER
Today's Document
Alisa U Zemlji Chuda
sheepfilms

Product Placement
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todays bird
we're not kids anymore.

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@raatkainen
Edgar Allan Poe, from a letter to Mrs. Maria Clemm, July 1849
Anaïs Nin, from a diary entry featured in Trapeze: The Unexpurgated Diary of Anais Nin, 1947-1955
Chelsea Wolfe & pumpkin
Dracula: Dead and Loving (1995) dir. Mel Brooks
VAN HELSING (2004) dir. Stephen Sommers
“What magic is gathered from the old trees, from the spirits there, from the forest itself? The haunted pathways that lead into the dark forest have always been shrouded in mystery and fear, evoking a timeless curiosity. I remember as a child the way the woods behind our house called to me, they spoke to me, the trees had such presence, such personalities. Trees do mark the passage of time and memory. Guardians of forgotten homesteads, old apple trees gnarled and thick with lichen hold rainwater pools in hollows. Alder corpses next to the cemetery fill with mist and are still, during windy midnight hours. Lightning struck oak trees transform spirit paths on twilight evenings of the full moon nearest solstice time. Trees of all sorts not only offer incredible material for one’s own folk apothecary, they offer direct instruction and tutelage for those seeking to learn about seasonal and earthen mysteries. Once discovered a wild place hosting a dominant tree in the landscape can be visited again and again, offerings made and intentions spoken. While it is true that not all trees are safe or friendly to a human companion, their roots do grow through an ancient substratum and feed upon the enchanted ways of old.”
— Corinne Boyer - Under the Witching Tree: A Folk Grimoire of Tree Lore and Practicum
frank ohara
“No time to grieve for roses when the forests are burning.”
— Juliusz Słowacki
breathtaking photos of girls in Serbian traditional costumes taken by Pavel Surovy
Hmm indeed
I saw a joke about Howard Shore managing to make a scene as simple as 9 guys and a pony walking past a rock one of the most memorable epic scenes in history, which made me rewatch the "The Ring Goes South" sequence but no. That's an understatement. Yes the scene would never be what it is without Shore's score. However, there is so much meaning in a scene as simple as this. Everything is looked after in excruciating detail and the reason we consider this scene (along with most LOTR scenes) so special is that it gives to our subconscious numerous information about the story, the main characters, their personalities. Look how much of it there is in few seconds.
Gandalf is the first to pass the rock. Gandalf is thus the leader, the guide. Being first is also linked to him being a higher being, as Wizards (or the Maiar) were kind of demigods. Gandalf moves fast, fixated on the horizon - at the path they have to take - and doesn't stop or look anywhere close to the camera. Gandalf is driven. He carries the responsibility of leading the fellowship to its goal. Gandalf also shortly adjusts his hat, showing us that the weather conditions are and will be harsh and against them.
Legolas is the second to pass. Legolas lingers slightly and looks around, his hair flowing. Him being second has two meanings: a symbolic and a literal. He is the second highest being after Gandalf but also he must be at the front as he is the ears and eyes of the fellowship since he has the most acute senses. This is why he is looking around, not just to make the hair flow. He is looking out for danger and possible enemies. But also him looking up high, the hair flowing gracefully, his steps being lighter than the others' - all these underscore the ethereal nature of the elves.
Gimli comes third. He does a quick left and right glance while Legolas is still on focus but after that he passes quickly and without any flamboyance. It shows the contrast between elves and dwarves. Gimli's job isn't to be the ears and eyes - his job is to kill the enemy once he comes. That's why our focus is on his precious axe. Gimli's gaze is fixed on the ground - a symbolism of the dwarves dwelling in the mines under the earth.
He and Legolas are skilled fighters and they are the front guard of the fellowship because one has the dexterity and acute senses and the other has the resilience to not allow whoever might escape Legolas to reach the real targets.
The real targets are the physically weakest beings in the fellowship, the hobbits. This is why they are in the middle, because they must be protected from all sides.
Frodo comes first, as he is the protagonist and the ringbearer. He is also by far the oldest (this isn't in the movies I think) and, in general, the most respectable and precious member of the fellowship. Merry and Pippin follow, in that order as this is always how we refer to them, and (almost) always together.
Sam is last and is half hidden behind Pippin and his pony Billy. He doesn't look at all close to the camera, unlike the other hobbits. He is of a humbler background and he is pragmatic. He is the gardener and here his role supposedly is to take care of others. He is to be the unassuming hero, hidden behind the animal and the supplies and the nobler hobbits.
Brave but mortal, always treated as expendables regardless of status, the men are the rearguard.
Boromir is brave and ready to protect. He will be the defender, as hinted by his shield. He fills the screen in reasonable but noble regalia and is kempt, besides brave being also proud and confident and of significant lineage.
Quite the contrary to Aragorn, for whom the camera actually angles down to show him. This is probably because the camera shows all members as they pass the rock but it shows Aragorn before he gets past the rock. Maybe there is a change we wait from him still, an upgrade to his final version, of sorts. Aragorn almost seems left behind and alone. He doesn't look at all anywhere close to the camera. He is fixated on his path. His eyes are casted downwards. His attire is modest to say the least. He stays behind the son of the Steward of Gondor, who is still the governor. It shows how Aragorn respects and understands each and everyone's place, even though he is the rightful heir. He is humble and above personal rivalries. He remains behind, ready to protect everyone with neglect to his own safety. Ready to be the first to fall, if that is his fate, as long as he saves others.
Fairy trees of the Baltic Coast II by Heiko Gerlicher
me: aggressively tries to live in the 90s
Oh shit!
“People demand freedom of speech as a compensation for the freedom of thought which they seldom use.”
— Søren Kierkegaard (via freelance-philosopher)