#Cinematic poetry

[ichigokeks]

The visual representation of how certain words can trigger your trauma was insanely well done. Sky is naked because being naked means you are vulnerable and defenseless. The sharp shadow-light contrast and the flickering shows how uncomfortable he feels. The red symbolises the danger in which Sky was when he was with his ex.

[soup-is-here]

Can't stop thinking about a version of "Meant to Be Yours" specifically the "VERONICA! Open the, open the door please" part but it's Jack at Felix's door

[jynjackets]

still can’t believe the most powerful and poignant sw productions are rebelcaptain: the movie and rebelcaptain: the series

[portraitofadumbassonfire]

You're so beautiful.

I know it.

[thecowboyghost]

when a character refuses to cooperate when someone points a weapon at them but then doesn't hesitate to give them what they want when the weapon is on the person they love. yeah

[artslovergirl]

hm? oh, nothing.just thinking about how in this scene

the game changers ad is placed perfectly in the background so that art is literally looking at them, seeing tashi cheat on him, much like he did in atlanta, symbolizing that even this time when he didnt actually see it, he knows.

[losersimonriley]

Modern Warfare IV mission titled Alone Pt.II from Ghost’s pov.

He’s been noticeably absent until now. The whole game has been focused on the 141 and allies locating the objective as their #1 priority. Player assumes Makarov is the objective until it’s realised Ghost went rogue to hunt him down himself. Finding Ghost. That’s what the player has spent half the game doing.

Alone pt.II plays out similarly to the first. Ghost is bleeding out trying to escape a Konni base. It’s very obvious that he needs immediate medical attention—screen blurs if you move too fast, he keeps falling over, and suddenly:

Soap’s voice over comms. Muffled by Ghost’s loud heartbeat. Player assumes Ghost is hearing things as he nears death. The mission goes on in a role reversal from Alone. Soap helping Ghost escape. Player gets to choose dialogue options that are a direct callback to that first duo defining mission.

“Still fixin’ each other’s problems are we, Johnny?”

“Always, Lt.”

“Never did convince me to keep the mask off though.”

“Oh there’s time for that yet. Let’s just worry about keepin’ your blood in for now.”

Eventually Ghost makes it to the location Soap was directing him to, where he finds the 141 waiting. Including Soap. Who was actually on comms with him the whole time. This is how the player finds out Soap is alive. *Cue dramatic cutscene*

[your-darling-gaze]

OKAY SO.

Ahem. AHEM. ATTENTION.

This dropped. And I found some... questionable names I. HOPE. these are not just cameos please.

Martin Freeman, Ben Affleck.

Tomorrow Cruise, Henry Cavill, Emma Stone.

Pedro Pascal, Karen Gillan, Hugh Jackman, Ryan Reynolds.

Chris Evans (POST ENDGAME?! ), Sebastian Stan (POST TFATWS?!), Tessa Thompson, Bradley Cooper.

Hayley Atwell.

WHAT THE ACTUAL-

[sylvies-kablooie]

the fact that loki took latin as an elective and thor took groot says so much about their characters and i think about it frequently.

[namedvesta]

Déjà Vu, dir. by Wong Kar-Wai (𝟤𝟢𝟣𝟤)

[crumblinggothicarchitecture]

Y'all wanna know about a gender-non-conforming knight from 13th century France? No? That's okay- I'm fine with talking to myself.

I'm obsessed with gender performativity in early medieval texts- so obviously I had to know everything about Le Roman De Silence.

To preface-

So, long before there was the Marvel Cinematic Universe- there was the interconnected works of the Arthurian Legends. The original superheroes- King Arthur, Merlin, Morganna le Fey, and the rest of the cast. However, one of the lesser known (only arguably canonical) interconnected texts of the Arthurian legend hails from France. People argue over whether or not to include these texts as part of the cannon of King Arthur because it's technically french- and the french-english divide between characterization of all the main players of Arthur's court is remarkably different. Much research on this suggests the discrepancy of characterization is largely due to distance between where the stories originate, and sociopolitical tensions between the French and the English. Either people were too far apart to share stories- thus too far apart to keep characterization uniform, or they fucking hated each other enough to mess up the characterization on purpose. For example, many of the French portrayals of King Arthur paint him to be a rather terrible person, where English portrayals are generally more kind to him.

All that aside- many people will disagree that Le Roman de Silence should even be part of the Arthurian legend canon anyway- because it only mentions Merlin at the end of the poem and because it's a super french poem.

The main storyline is about this character named Silence. From the Old French Poem- Le Roman de Silence.

Gender? No- Never heard of it.

The latter half of the story in this poem is predicated on a complex mediation of Nature vs Nurture. What happens is that a baby is born into a wealthy family, and for sociopolitical reasons, the family decides to raise the girl baby as a boy. They name this child "silence." Silence grows up with full access to an education, as was typical for the boy children of aristocratic medieval families- this education becomes important later as Silence wrestle with where they fit into the larger social structure after maturing into adulthood. Essentially, they find the idea of marriage too boring and would like to be a Knight or Explorer instead. (I love them.) Anyway, it's fascinating to me that the conceptual ideas of nature and nurture are personified into being something like "deities" which are overseeing the growth of Silence through the ages- and so we get these deities commentary.

Silence wants to be a knight- so Nurture brags about being right that gender is more performative than it is biological. Then, later Silence grows up to be remarkably "pretty" and according to the deity of Nature- they brag about being right that biology and gender are intrinsically tied. It's such a thought-provoking mediation on gender as either performance or pure biology that I forget it was written in the 13th century- long before Freud or Lacan or any of the others who became hyper fixated on human presumption of gender as either a social category or a biological necessity.

I argued in a paper, once, that the narrative itself does actually finally end on the note that Gender is a performance, and it is tied into social roles only so the ruling class can have control of the population. That is why the stories ending shifts into horror-genre-esque of Silence marrying into the upper-ruling class.

I also have a strong urge to write a Fanfiction of Silence as a knight- who does not meet a sad fate but rather lives happily as a knight and eventually marries a princess. Okay- Okay? fine I said it. I said it-

Social pressure to marry?

The story takes a dark turn, however- when the King demands Silence to reveal themselves in front of the court. Obviously, even the author of the story was aware that misogynistic social standards would not allow for people to ever really be free of gender stereotypes and roles. So, Silence is then forced out of the adventurous lifestyle of a knight and into a marriage. Also, this is the place in the story where Merlin makes an appearance (I have a theory that Merlin is representative of the devil, and the author really hated that all AFAB people were forced into marriage back in 1200's. So that's why the devil shows up when all the bad shit is happening to Silence).

Inevitability and dismay-

What I find particularly interesting about this poem is the fact that the end, as Silence is forced into marriage and back into "proper" social roles for their assumed biological characteristics, is the fact that it is written like an early attempt at gothic horror!

So, one of the stipulations for something being a "gothic horror" is 1.) old, archaic, twisted buildings. (this blog is indeed named after my fixation with gothic horror elements, it's interplay relation to social reform, as its emphasis on decay as the tonal necessity for social indemnification). Anyway, the other most important aspect of gothic horror- is an overwhelming sense of desolation, isolation, and loneliness.

Sure, Silence is forced into marriage- but even with the forthright writing style of the author, we, as readers, are struck by Silence's loneliness. Thus, the "happily ever after" part of the storyline wherein the characters get married, as it traditional to chivalric romance, is recriminated against in subtext. Now, we have a moment in which the "happily ever after" is a creation of horror rather than peace.

Ending the narrative with marriage as equivalent to a loss of freedom and a sense of evermore-present loneliness, cumulating in the edifice of horror-struck fear in Silence at their own new future, is a remarkably bold social statement coming from a 13th century author.

I just think it's a really interesting text on the thematic points of negotiating Gender identity, in broader terms of performance and social roles, as much as it is a critique on the total social control that the monarchy held over the people of 13th century France.

Edit: I need to add that Silence themselves consistently rejects the idea that they are AFAB and instead only ever refers to themselves as "Silence" or "the knight"

[shutuperce]

does anyone else think about how terrifying it must have been for mike to watch will ride away from their garage into the dark in season 3 because that’s exactly how he lost him the first time

[yeswearemagazine]

Untitled, Lithuania, 2 023 © Giedré Kuskytè :

[andors-oar]

TCW S04E10 "Carnage of Krell" || TBB S03E07 "Extraction"

[stranger2myself]

[moliathh]

[alutegra/alucard x integra, hellsing]