#Robert Sternberg.

[angelicalane1986]

La Teoría Triangular del Amor de Robert Sternberg. Es un modelo psicológico que busca entender el amor a través de tres componentes fundamentales, que son representados como vértices en un triángulo equilátero. Estos componentes son: Intimidad: Se refiere a la cercanía emocional, la conexión y la sensación de compartir aspectos íntimos de uno mismo con la otra persona. Incluye la capacidad de comunicarse abierta y honestamente. Pasión: Se relaciona con la atracción física y emocional. Incluye el deseo, la atracción sexual y la energía emocional hacia la pareja. Compromiso: Se refiere a la decisión consciente y a largo plazo de mantener una relación. Involucra la dedicación, la lealtad y la voluntad de superar los desafíos para mantener la relación. La combinación de estos tres componentes da lugar a diferentes tipos de amor. Sternberg propuso varios tipos de amor, como: 1. Amor Consumado: Incluye altos niveles de intimidad, pasión y compromiso. 2. Amor Romántico: Caracterizado por la intimidad y la pasión, pero sin un compromiso a largo plazo establecido. 3. Amor Compañero: Se centra en la intimidad y el compromiso, pero puede carecer de la pasión apasionada. 4. Amor Fatuo: Incluye la pasión y el compromiso, pero con poca intimidad real. A menudo se ve en relaciones impulsivas. 5. Amor Vacío: Caracterizado por el compromiso sin intimidad ni pasión. Puede ser el resultado de relaciones que han perdido su chispa inicial. 6. Amor de Compañeros de Vida: Involucra la intimidad y el compromiso, pero sin una pasión apasionada. Es común en relaciones de larga duración. Esta teoría proporciona una estructura para entender la complejidad del amor y cómo puede evolucionar a lo largo del tiempo. Cabe destacar que las relaciones pueden cambiar, y la presencia o ausencia de estos componentes puede variar a lo largo de la vida de una relación. ¡Una elección excelente! Realmente arroja luz sobre la complejidad del amor al descomponerlo en tres componentes fundamentales. Me encanta cómo utiliza la metáfora del triángulo, donde la intimidad, la pasión y el compromiso son los vértices interconectados. ¿Alguna vez has pensado en tus propias relaciones a la luz de estos componentes?

[chaptertwo-thepacnw]

macao |1952|

[joeinct]

Silvas Oil Company, Ventura, California, Robert von Sternberg, 2012

[wellntruly]

Oh right yes, we're back with my top ten movies of 2024

1 McCabe & Mrs. Miller (Altman, 1971) Recommended for: easy but, Leonard Cohen fans

2 Sherlock, Jr. & Steamboat Bill, Jr. (Keaton, 1924 & 1928) Recommended for: Tarsem's The Fall fans

3 Shanghai Express (von Sternberg, 1932) Recommended for: noir fans

4 Solaris (Tarkovsky, 1972) Recommended for: people with a poetry tag

5 My Darling Clementine (Ford, 1946) Recommended for: people who have been told they have an old soul

6 3 Women (Altman, 1977) Recommended for: the witchy wlw Lana Del Rey fans

7 Sorcerer (Friedkin, 1977) Recommended for: Mad Max fans

8 The Apartment (Wilder, 1960) Recommended for: sad girl Christmas!

9 Harold and Maude (Ashby, 1971) Recommended for: Edward Gorey's Gashlycrumb Tinies fans

10 A Zed & Two Noughts (Greenaway, 1985) Recommended for: Bryan Fuller's Hannibal fans

As before, links go to my original Letterboxd “review” (comment), and if you click the poster or title there you’ll be taken to the short synopsis, cast & crew, wide header image for some vibes, etc.

And then the next ten too why not, it was a Good Year in Watching:

12 Angry Men (Lumet, 1957) After Hours (Scorsese, 1985) Lady Vengeance (Chan-wook, 2005) The French Connection (Friedkin, 1971) A New Leaf (May, 1971) Leave Her To Heaven (Stahl, 1945) Merry Christmas Mr. Lawrence (Ōshima, 1983) The Lion In Winter (Harvey, 1968) Women On the Verge of a Nervous Breakdown (Almodóvar, 1988) Fail Safe (Lumet, 1964)

I loved all these as well

[darlingbandit]

Rewatching Macao and imagine Robert Mitchum appearing before you and your first thought is, “I can take this guy.”

Also, this movie is about as close as you’ll get to those old 40s/50s pulp fiction novels that always had a buxom lady smoking a cigarette and sneering and some muscly guy with his shirt torn open and a five o’clock shadow and a cigar in his mouth in the jungle on their covers that your grandfather (or perhaps great-grandfather because I’m old now) probably read and was actually surprisingly racy, like the GI Joe equivalent of those Harlequin novels your grandmother/great-grandmother mother read that always had a buxom lady with a ripped shirt and a clean-shaven long-haired dude and they both look very frustrated and/or sad on their covers.

[pianistbynight]

🎶 my day in music 🎶

morning/afternoon:

- waltz for debby, bill evans - autumn leaves album, bill evans - high energy jazz playlist - it's christmas eve and i'm all alone in the library (a dark academia playlist) - winter night jazz playlist - davidsbündlertänze, op. 6 no. 18, robert schumann

evening:

- widmung (dedication), schumann-liszt - nocturne op. 55 no. 2 in e flat major, chopin - étude op. 10 no. 11, chopin - salut d'amour (op. 12), edward elgar - rondo in d major, k. 485, mozart - humoresques (op. 101), poco lento e grazioso, dvořák

[timetravelingthroughspace]

Sternberg’s Triangular Theory of Love

[bitter69uk]

“A man from nowhere … a woman with nowhere to go … try to forget their pasts in exciting, exotic Macao, port of sin and shady dealings!” 

On 16 February the Lobotomy Room film club (motto: Bad Movies for Bad People) whisks you away to the steamy Portuguese colony of Macao for this sordid noir thriller! Sure, the Times’ critic reportedly dismissed Macao as “melodramatic junk”, but I side with deviant queer film scholar Boyd McDonald, who concluded “Macao is, arguably, perfect.” 

Macao’s major selling point is the sullen dream duo of Robert Mitchum and Jane Russell, who effortlessly match other for tough wry humour and torpid impudence. As McDonald notes in his volume of essays Cruising the Movies (2015), “out of habit rather than anything in the script, the stars of Macao – and under their spell, the supporting players and extras – loiter about leering and sneering at each other, giving attitude. The attitude is one of contempt mixed with lust – an insolent craving, a concupiscent scorn … the players look as though they can’t stand the sight of each other, yet want to suck each other off … Russell, gifted with articulate nostrils and some slight imperfection in the nerves or muscles about her lips, is especially good at competitive sneering.” Seriously – how can you resist? 

Adding to the intrigue: temperamental veteran filmmaker Josef von Sternberg (the visionary behind all those great 1930s Marlene Dietrich films) was exhumed from semi-retirement to direct Macao but when preview audiences grumbled the film was too art-y and weird, an uncredited Nicholas Ray (of Johnny Guitar (1954) and Rebel without a Cause (1955) fame) was assigned to shoot additional scenes! Watch as well for bad girl Gloria Grahame in a supporting role! 

Lobotomy Room Goes to the Movies is the FREE monthly film club devoted to cinematic perversity! Third Thursday night of every month downstairs at Fontaine’s bar in Dalston! Two drink minimum (inquire about the special offer £6 cocktail menu!). Numbers are limited, so reserving in advance via Fontaine’s website is essential. Alternatively, phone 07718000546 or email bookings@fontaines.bar to avoid disappointment! The film starts at 8:30 pm. Doors to the basement Bamboo Lounge open at 8:00 pm. To ensure everyone is seated and cocktails are ordered in time, please arrive by 8:15 pm at the latest. Facebook event page. 

[letterboxd-loggd]

Crime and Punishment (1935) Josef von Sternberg

October 7th 2022

[audiemurphy1945]

Harry Sternberg, Robert Gwathmey, 1944

[in-sightpublishing]

On High-Range Test Construction 19: Dr. Ronald K. Hoeflin

                    Publisher: In-Sight Publishing Publisher Founding: March 1, 2014 Web Domain: http://www.in-sightpublishing.com Location: Fort Langley, Township of Langley, British Columbia, Canada Journal: In-Sight: Independent Interview-Based Journal Journal Founding: August 2, 2012 Frequency: Three (3) Times Per Year Review Status: Non-Peer-Reviewed Access: Electronic/Digital & Open…

[twittercomfrnklin2001-blog]

Macao

Robert Mitchum and Jane Russell had such great chemistry it’s a pity they only co-starred in two films, mainly because their studio, RKO, was in such a state of disarray in the 1950s it’s a wonder any films got made there. They’re not just two of the most insolent actors on screen. They also knew how to let their guard down and connect on a more vulnerable level. Josef von Sternberg and others’ MACAO (1952, Criterion Channel, TCM) is a genial mess salvaged by the lead actors’ charm. It took four directors and nine writers (including Mitchum during retakes) to tell the only vaguely coherent tale of two drifters (Mitchum and Russell) who dock in the wide-open city of Macao (what would the movies do without cities like this) and eventually land at the casino run by gangster Brad Dexter. Dexter thinks Mitchum is a police officer trying to get him into international waters so he can be arrested, but is he? Everybody has an agenda, and sometimes even the actors aren’t too sure what that is. But the film looks great, particularly a nightmarish late-night waterfront chase von Sternberg fills with shadows and nets.

Mitchum is his usual relaxed self, and Russell is an expert at cracking wise. She also has two songs, including a surprisingly resonant rendition of “One for My Baby” when she thinks Mitchum has cheated on her with Gloria Grahame. Grahame is pretty darned insolent, too, but she’s saddled with a character that makes no sense. Does she want Dexter or Mitchum or diamonds or whatever she can get? She complained that the writers couldn’t tell her if she was supposed to be Eurasian, White Russian or just Marge, and suddenly I’m hearing Julie Kavner read “You’re up early for a loser.” William Bendix is also on hand as a salesman with an agenda of his own.

Those with 21st century sensibilities should be warned that the film offers a pretty strong dose of Hollywood Orientalism, combining an explosion of Chinoiserie built on the studio back lot with location footage in the actual Portuguese protectorate. It’s hard to tell what’s more offense, the depiction of Asians as inscrutable (particularly the wonderful Phillip Ahn, who deserved lots better than his role as Dexter’s assistant), the crooked, sweating Portuguese police sergeant played by Thomas Gomez, however expertly, or the stock blind beggar endowed with super senses.

[chaptertwo-thepacnw]

macao |1952|

[cristinabcn]

SALUD MENTAL: EL AMOR Y SUS FORMAS DE AMAR

HOLA MUNDO..!! Definitivamente el amor, es un sentimiento profundo, complejo que se experimenta entre dos o más personas y se caracteriza por una mixtura de emociones, pensamientos, acciones y comportamientos afectuosos de cariño, deseo, compromiso y apoyo a la otra persona. Es una emoción extremadamente poderosa, lo cual se refleja en su impacto en la cultura a lo largo de la historia.…

[wellntruly]

Hard to limit myself, so: 3, 4, 12, and 18 (if you haven’t answered any of those yet!). 😝

3. What is a film you absolutely despise and why?

I might be a bit of a disappoint here, I don't usually get to real despise levels! There are movies whose choices artistic or otherwise frustrate me sure, or are just simply and resoundingly Not For Me, but I don't know, if I don't like something then I usually just kind of move on? I'm not a hate-watcher either, which feels like it's probably related. I do think it's really valuable in developing your own taste to engage with pieces of art that you don't like so well and kind of poke & prod about why that is, but I also think a key part of it is always thinking about it as why for YOU it didn't work, and remembering it's still the product of a lot of artists making choices that they thought were the right ones in the circumstances.

4. Is there a film that you love except for the ending? What would you change about the ending?

What is practically always the case for me if I want an ending to be different, is I just want it to end a bit earlier. I LOVE a like, evocatively inconclusive ending. They speak to me! Actually, just recently on my Josef von Sternberg & Marlene Dietrich jaunt, Morocco ends perfectly, Shanghai Express should be earlier! And yet, I still love Shanghai Express so much more. If it ended where I thought it was going to though, OH baby!

12. Which movie has your favorite soundtrack?

I've decided to take this literally as 'soundtrack' not score, and that's gonna be Leonard Cohen McCabe & Mrs. Miller 🤍

18. What film do you think has the coolest poster?

I will someday have many answers for this as I want to hang my stairwell with movie posters---"But like, the good ones" I'll clarify to visitors, and they're like, "Oh, of course"---but one that's already in the finalists is Cléo from 5 to 7

[perfettamentechic]

22 dicembre … ricordiamo …

22 dicembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Ronan Vibert, Ronan David Jackson Vibert, attore britannico. Figlio di due artisti, Dilys Jackson e David Vibert, studiò alla Royal Academy of Dramatic Art. Vibert ha avuto una lunga carriera nel teatro, nella radio, nella televisione e nel cinema. Vibert è morto in un ospedale all’età di 58 anni, a seguito di una breve malattia.(n.1964) 2020: Giorgio Gucci, nipote del fondatore della…