#cinematic references

[nocternalrandomness]

"Charlie don't surf!"

[castillianthorn]

Maki Zenin as "The Bride" WIP

because I am FINALLY catching up to season 3 of Jujutsu Kaisen and still can't get over the absolute MASTER PIECE of Maki vs the Zenin Clan.

So here's a humble wip of Maki as the Bride.

please ignore the lack of details on her suit/sword and my random layers lol hopefully I'll be able to finish this someday

[perfil-de-um-cidadao-comum]

"New York Herald Tribune....New York Herald Tribune..."

Acossado (1960) - Jean-Luc Godard

A Bela da Tarde (1967) - Luís Buñuel

[allweknewisdead]

Udo Kier in Suspiria (1977) - Dario Argento Swan Song (2021) - Todd Stephens

[agentrouka-blog]

Hi! I just read your post responding to an ask about Sansa bonding with Ghost. I recently rewatched Disney's Beauty and the Beast, and was struck by a certain scene that reminded me of the girl in grey theory. If you search "Beauty and the Beast (1991 film) - Beast Rescues Belle From The Wolves" on youtube you will find it. I believe Ghost (with Jon's spirit) will fill the role of the Beast and Sansa as Belle. Unfortunately, it will likely be much more brutal and less Disney-esque. Thoughts?

Hello anon!

My thoughts are that I completely agree! 

I'm almost too convinced of this scenario at this point. There's foreshadowing (Tysha and various other woodsy chases, suspiciously placed in the background without a "big" event to match them yet) and it would very neatly tie the Girl in Grey into fairytale territory with Little Red Riding Hood and Disney's Beauty and the Beast. 

This turn toward the fairytale or "the songs" is important because Jon and Sansa's reunion will mark the point where things go from deconstruction to reconstruction. 

[trendynewsnow]

The Hitchcock Hotel and The President’s Lawyer: A Tale of Tension and Intrigue

The Hitchcock Hotel By Stephanie Wrobel There’s an air of tension and unspoken rivalry when five former college classmates converge for a weekend at The Hitchcock Hotel (Berkley, 340 pp., $29), a quaint yet eerie inn nestled in New England, brimming with cinematic memorabilia. The hotel is run by Alfred Smettle, a once-close friend who has now become an enigmatic host. Their paths have diverged…

The Hitchcock Hotel and The President’s Lawyer: A Tale of Tension and Intrigue

[nitrateglow]

“Echoes within echoes”: On cinematic intertextuality

So in my film noir class, we’ve been talking a bit about the tendency towards intertextuality and referencing in postmodern movies: you know, all the references to other movies which abound in Tarantino’s movies and the like. However, a lot of the texts we read complain about this. Critic and author of More than Night: Film Noir and Its Contexts James Naremore finds these barrages of cinematic homage to be airy and pointless:

“If anything characterizes postmodern art, it is what Peter Wollen describes as a relentless “historicism and eclecticism, which plunders the image-bank and the word-horde for the material of parody, pastiche, and, in some extreme cases, plagiarism.” But postmodern movies have a very short historical memory, usually limiting their “image-bank” to the period since 1930″ (196). Naremore, while he admits to enjoying some postmodern movies like Pulp Fiction, claims he finds them substance-free and clever for the sake of being clever. He says he “[wishes] it were possible for directors to follow the advice that Orson Welles once gave to Peter Bogdanovich,” that movies are “’full of good things which really ought to be invented all over again... Invented-- not repeated... images discovered-- not referred to’” (219).

Yet the other day, I was listening to Terry Gilliam’s audio commentary on his film Brazil and he mentioned how he enjoyed cinematic cross-referencing and felt that when used right could add a richness to a movie, deeming them “echoes within echoes.” Brazil quotes images from Battleship Potemkin and Metropolis, and has cubicle-constricted characters watching Casablanca, yet none of it seems distracting or designed to get brownie points from cinephiles.

I myself am divided on the topic. Being a big movie buff, I enjoy noticing certain references and do think that drawing parallels between one work and another can be done to help the narrative rather than appeal to movie buffs alone (ex. the references to Pinocchio in Close Encounters of the Third Kind, the references to Metropolis and Casablanca in Brazil, etc.). And Naremore be damned, I love the pastiche going on in Tarantino’s movies. But then I see Naremore and Welles’ point too. Anyone else have any thoughts on the matter?

[cuantica]

do you think the "Denny Wants To Watch" scene in The Room is a reference to the scene at the beginning of Shrek 2 or the other way around??