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There’s a line in the song that I’m really proud of and the line says “with every guitar string scar on my hand, I take this magnetic force of a man to be my lover”, and that line is really special to me because… I’ve spent quite a bit of time writing breakup songs and songs about things not turning out the way you wanted them to or songs about what you thought would be love and it turned out not to be that at all or just, you know, just kind of the struggle of life; I find that songwriting is really just a cathartic, therapeutic thing for me […] I took that as a metaphor for the times when I was first learning to play the guitar and I played till my fingers bled and I still have all those marks from that and all the times I’d be changing a string and it would pop and I still have scars from that, but it’s also a bigger metaphor for like, in life, you accumulate scars, you accumulate hurt, you accumulate moments of learning and disappointment and struggle and all that… and if someone’s gonna take your hand, they better take your hand scars and all.

#taylorswift

hanavbara

totally spies redraw 💄💫

onedirectionarthistory

oikawas

Look, I know I don’t always do what you need me to do or say what you need me to say, but I… I see this… this spark in you, it’s amazing, it’s why I push you. But it’s yours, and whatever you choose to do with it, you’ll be great.

SPIDER-MAN: INTO THE SPIDER VERSE (2018) dir. Peter Ramsey, Robert Persichetti Jr., Rodney Rothman

my everything

GCF analysed by a film/theatre studies student: Tokyo (ft Osaka)

GCF TOKYO

GCF OSAKA

DISCLAIMER - Don’t see an analysis you like? That’s fine. Stop reading my post. If you send mean asks/shout at me, I will cry. If you disagree, you’re welcome to say why in my ask box, but in a way that is respectful. I’m not in any way saying my analysis is right, it’s just a perspective. The only person who is right is jk, because he’s the creator, so don’t shout at me pls I’m soft thanks.

This analysis may be messy, but I’ve spent a long, long time working this all out. I’ve looked at different techniques that I know other filmmakers/theatre practitioners have used and taken them into account, as well as stereotypes/symbols. I am an English lit/film/theatre studies student, so I analyse a lot of things a lot of the time, so I mostly know what I’m doing lmao. And no, I’ve not made it jikook biased just because I ship them. In fact, the first analysis I came up with totally debunked jikook, but didn’t fit with GCF Osaka (which will be referenced throughout the second analysis, but I’ll make a separate post to analyse that one if you want me to), so it’s not as strongly backed up as my second analysis.

I’m gonna talk about my analysis for GCF Tokyo as a standalone, and then for it as a prequel to GCF Osaka (bc it changes evERYTHING ffs). Also, please remember that these are films, not vlogs. What I talk about might only be real for the GCF jm, jk, th etc. and not irl jm, jk, th etc.

LEGGO:

THE FIRST RULE OF ANALYSIS CLUB IS YOU NEVER TALK ABOUT-

I’m kidding, it’s - anything a filmmaker can control, they will. That means that anything in the shot which can be controlled such as an actor’s (jm’s) clothing, expression, etc. is a conscious decision on part of the filmmaker (jk). You may not think everything is valid but believe me, this is coming from a girl who wrote a massive social context paragraph based on a beer bottle on a sink which appeared in a film for like 2 seconds, and got loads of marks for it. Jk has clearly thought a LOT about these films, and put a lot of effort into editing/song choice, it would not make sense if he didn’t bother to focus on mise-en-scene or costume as well. In fact, it would ruin his whole message.

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