#meliès

[froggynelson]

ok so today's issue was boring yawn setup for the following ones as it looks, so i'm choosing to imagine foggy is waiting impatiently in hell looking annoyed. he's wearing a dinky devil costume with a pitchfork in hand, waiting until matt dies so he can torment him for all eternity.

[miribooksies]

Jack and the Cockoo Clock Heart (2013)- Movie, Spoilers

HEHEHEHEHHEHHEHEHE

I watched this movie when I was a kid, tiny me, and I found it again because its songs kept worming around my head, and I'm so glad I did.

It starts with a our protagonist, Jack, being born in the coldest day on earth, his heart is frozen, so it is then replaced with a clock. It all starts from this, his heart. This movie is, in my opinion, a tragedy, but I think it's very debatable and interpretation-oriented.

The art style is very captivating, making everyone look like some sort of pristine doll. The backgrounds are very thought out and a highlight with how imaginative it is and how much it aids the story, especially regarding time-skips and travel. THE MUSIC IS AWESOME, I enjoyed this the MOST, it's very rhythmic, very thematic, and it explores multiple genres and atmospheres depending on what part of the story they're currently on. The MUSIC WAS MY FAVORITE, if nothing else just watch it for the melodies.

That being said the story is very captivating too, it's very motive driven, so it's very fast paced (including the dialogue, but I think it's because of the translation from French and not a choice to cut time) and every moment is key to the storytelling. Despite this quick pace, it is a slow burn, but they do a very good job of keeping it dynamic while keeping the tension of the main plot.

It is, however, a very sexual story, despite nothing being very explicit. The sister-figures of Jack are sex workers, when Jack meets his love interest (IMO most important part of the story, and best chorus, and very stunning atmosphere) he references tearing her dress to confetti with his teeth which ???? he's a kid in this moment so that was very confusing and weird, relationship between George Meliès and the two headed woman, and other instances of sexual innuendo achieved in many, many angles. I feel this is very notable, since Jack never is involved with anything. Being so enamored with Miss Acacia and his heart situation, we can probably assume he's a virgin, yet it doesn't stop the main and side romances from being very suggestive.

From what I hear the book is much more sexual, and the presence of it in his childhood in both book and movie is commonly tied to the sister-like sex workers, who are very open about their work and do share work stories in front of Jack.

Miss Acacia's powers are also never noted, which is strange because it isn't like every stranger walking the street suddenly sprouts thorns around their body or purple cones in their tits, it might've been very intentional though? I like the fact it was never a center of attention, and I think it really aids characterizing Acacia, pushing forward a fairly well-rounded character for the short amount of time. It helps us visually see her feelings, emotions, and intentions, kind of like wearing her heart on her sleeve.

On that same locomotive of thought, Joe has the same birthday as Jack, which is such a random piece of lore to drop, but giving it a bit of thought forms a solid idea. Jack was born on the coldest day on Earth, this is what caused for his heart to be mechanical, meaning that Joe was also born in that same coldness, but we don't see him walking around with his own pendulum, so why is that? Probably because, following the film's very direct and literal nature, his heart is simply cold, which pushes him to be as cruel as he is to Jack.

It might've been because it was 1 AM and because the beat might've scared me, but I really felt the final kiss in my chest, and I think the building up of the whole narrative really makes this such a good ending. If it's a good ending is probably debatable, but me personally I appreciated the direction in which it was taken, and that the tragedy was taken to the end, without letting go of the romantic plot for a second. It feels very complete, I guess. Even as he climbs the snowflakes, it feels very true to the story, that's probably why I like it so much.

Props to the whole team honestly they REALLY know how to make atmosphere, and the way they used those tools to convey storytelling is PHENOMENAL!!

I also see where and why the movie could be strongly disliked, if you end up hating it, but I thought it was fire.

I watched it here!

[vyragosa]

fgo permanently ruined anything i could say about thomas alva edison's scamming schemes and ruined meliès cause i will be randomly remembering that one meme with tesla and him that has "why did i ever let you cum in me you're annoying as fuck" over it permanently embedded in my head.

[sculptures-creations-art]

"Meliès hommage"

[inapat16]

When paintings talk in the cinema (1/4)

The cinema industry has been influenced by paintings since it’s beginning. Since the 19th century, famous directors like the Lumière Brothers or George Meliès searched for inspiration in the famous painting of there era. The Pathé film Le duel après le bal filmed in 1900 is completely inspired by the painting Le Duel après le bal masqué by Jean-Léon Gérôme, an important painter who has inspired many other films This tradition of making “living pictures” in cinema has remained through the years and has been an effective way for the filmmakers to connect with an audience who shares the same cultural values.

Nevertheless, in this article I would like to focus on the paintings that appear in the movies as a symbolic gesture of the director. More specifically, I would like to talk about the museum sequence in Brian De Palma’s film, Dressed to kill. This movie is a horror-thriller about sexual frustration, transgenderism and violence against women. Although the film was largely criticized by some feminist movements for the portrait of transgender people that De Palma depicts and for the use of violence against women as entertainment, the film was nominated for the Golden Globe Awards among others.

The sequence at the Philadelphia museum of art is one of the most famous of De Palma’s filmography.  The sequence opens with the statue of Diana by sculptor August Saint-Gaudens. This statue represents the goddess of the hunt naked, which refers to what its going to happen next in this scene. A woman (Kate) and an unknown man follow each other through the halls of the museum. In this sequence, Kate wants to seduce an unknown man in the museum but she hesitates a lot which provokes a hide and seek situation between the two of them, as if they wanted to hunt each other. De Palma’s choice to open the scene with this statue is interesting since this piece of art generated a lot of debate because of the fact that the goddess was represented naked. This resonates with the issues aroused by the film about women’s sexuality and women’s representation.

The following scene shows Kate sitting in front of a painting inside the museum. This painting called West Interior by Alex Katz, is a female portrait that depicts a middle aged woman. At first, Kate is just looking around but when her eyes meet the painting she stares at it melancholically, imitating the same look that the woman portrayed has. The framing of these scene reminds us of the framing of Madeleine in the movie Vertigo by Alfred Hitchcock, who was an important inspiration for Brian De Palma. Just after the look of this two women meet, Kate turns around to look at a young couple who is lasciviously flirting. Then, she sees a man trying to flirt to another woman who is contemplating a different painting. These scenes reinforce the feeling that Kate is feeling sexually frustrated and that she has a strong desire to seduce and be seduced even if she’s married. The fact that the painting in front of her portrays a woman of approximately the same age as Kate, enhances the feeling that Kate is troubled by the commonly questionings that middle aged women have about their sexuality and their capacity to desire and be desired at that age. It is obvious that this painting elicits mixed feelings for Kate and she decides then to distract herself from these thoughts pulling out her agenda. She looks at the painting one last time, with a more serious look and then she stares contemplating the painting next to it which is Reclining Nude by Tom Palmore. After contemplating this painting of a sleepy gorilla, she writes in her agenda “nuts”. We don’t know if this has to be for her shopping list for dinner or if this translates how she’s feeling. Either way, these paintings have an effect on Kate in a mysterious way, they reflect what’s going on through her mind. She’s confused, frustrated and contemplating these paintings is somehow a way for her to channel her discomfort. Finally, a man sits next to Kate and starts contemplating Katz’s painting. This changes the whole atmosphere of the scene since Kate starts to get nervous but also excited. She’s craving for this man’s attention. At this point, the hunting dance starts as this unknown man does not give her the attention she wants. De Palma has often used the “obsessive tunnel-vision”[1] to manifest a sort of harrowing desire between men and women. The two of them start chasing each other through the museum and the camera follows them. We can see a lot of nude paintings in the museum which strengthens the sexual atmosphere of the scene.

The use of these paintings in this scene is an intelligent and effective way for the director to communicate to the audience the feelings and thoughts of the characters using purely symbolic images, without any dialogue. In fact, the whole sequence unfolds almost entirely without dialogue and that’s what makes this scene so successful and emotionally strong. De Palma achieves a “pure play of visual exposition and associative storytelling”, by using specific techniques of framing the artworks, organizing the space and the figures and choosing specific viewpoints that allow the viewer to feel and understand through the image and the paintings.

Laura Cárdenas

[1] Roderick Heath, “Dressed to kill (1980)”, 28/10/2020 : https://filmfreedonia.com/2020/10/28/dressed-to-kill-1980/

[mhsteger]

A Trip to the Moon (1902), by Georges Meliès (born 8 December 1861; died 21 January 1938)

This could be a chapter from the near the end of Anatole France’s Penguin Island (1908)

[lettersfromleslie]

Presenting “HALFWAY HOME”!

Chappies: "Halfway Home" been out for two months now! The release concert and the European tour are behind us, and before the dust has settled completely I wanna take a last look at the album with you here, add in a few last pieces. I've talked plenty bout how the project got started, how it got fleshed out, the people who helped, and how it all felt, but I haven't really gone into the meat of it, the songs! And now Bobby shall bear all!!!

Maybe not... I'm aware that explaining things isn't always helpful. A song written right becomes a transferable thing, an incantation to be used by anyone. It's good to have a haze of ambiguity about the wee things. You can see hidden things in that haze, spontaneous images that a stark explanation cuts away. When "Twinkle Twinkle Little Star" was written in 1806 - bear with me - when that banger came out bout two hundred years ago, "How I wonder what you are" was a sincere wonder. As it had been for all of history. No one had any real idea. Holes in the firmament, ancestral spirits, cryptic clues to past and future events, all bets were on the table. Over the years a number of people put forward the idea that the Sun is a star, and stars are other suns, but it wasn't proved till the mid-1800s. And it was only a fair chunk into the 20th century - within living memory - that we were able to show that a star is a very hot ball of fusing gases, mostly hydrogen and helium. There you are. So now we don't have to wonder anymore. Which from a poetic point of view is honestly a bit of a drag, is what I'm driving at. Good science demystifies; a good poem does the opposite.

All the same, I reckon there's still a few things I wanna tell you bout this new  album of mine.

The first thing I wanna get across is that I put together Halfway Home as a whole, really as a story to be listened to in full. It's divided up into two halves - an inward-looking side on tracks 1 thru 6 and an outward-looking side from 7-11 (or 12, if we count ol Molson snoozing us out). "Chasing the Changes" is the pivot that starts the outside sliding in. There's a before-Covid and after-Covid divide: I began writing in November 2019 and finished around April 2020, and the writing followed what I was preoccupied with at the time. The project started out as almost a concept album, exploring the idea of "terrain vague" and the sorta phantasmagorical, outside-the-machine feeling of life on the outskirts of NYC, but because of how the outside world went all batty and barged in on us, some of the tunes ended up exploring more tangible problems.

You try to conjure pictures when you make music. Dragging out an inner world benefits from mixed media. So you package things. You hide clues in your artwork and videos. And so while you listen to these songs I want you to picture empty lots, weeds, rusted elevated subway tracks and the carved designs on old tombstones, as well as medieval block prints, the films of Georg Meliès, belle epoque theater sets, and Galileo's moon studies. If you're listening indoors, picture the people who lived in your room before you. If you're listening outdoors, find your nearest thin place, as the Celts called the places where you can sense that the distance between earth and the Otherworld is shorter, 'where the walls are weak'. Get good and mystical with me, eh? There's still room for it in this world. Let yer thoughts shimmer and waft about. Even the songs that are specific were meant to be indistinct.

They lead into one another: "Years Away" - conversation with past selves, stuck in the present with no turning back. "In the Rows" - present, adult world of love & building life. "Empty is the Colour" - dreams, fantasies of escape following those pressures, & waking again. "Halfway Home" - fear of the dark, headlong, thick, black vertigo love, a pit among the weeds, too deep to fall. "And It's Fine" - back to life, day-to-day, cleareyed sadness. "Chasing the Changes" - interruption! - crisis! - change!

Flip the record and the first thing you hear is the sound of a thunderstorm recorded in the first week of the Rona lockdown. "My Bananamoon" - goofy woozy drunken meandering across the empty streets, Pierrot's lipstick. "In Another Light" - the emptiness again but sober, & finding hope in the idea that things won't be the same. "Bye Bye Finchy Dave" - manic, chaotic riff on the end of a weird summer. "Cold Moon" - false peace of winter broken by dissonance, transference of pain. "The World" - to break open prior thoughts & float off free.

(And sending us back to our lives is Molson, the cat with the red sticker, snoring on our couch the night we rescued him from the shelter and the night before NYC's first Covid lockdown went into effect. Never caught him doing it since, as it happens. Poor lil fucker must've been beat!)

I love all my tunes, but I love these ones an unusual amount. They came out of nowhere, when I was worried I didn't have anything left to say. They sprung up after I decided that the confused jumble of my life was worth looking at after all, even if only for the sake of its own confusion. Realizing you can say something complete about a life that's incomplete. Halfway Home - dig?

I need to think of these songs as walking off by themselves, and that means they'll walk through you. I hope you take them to faraway places. I hope they show you pictures that no one's seen before. Plenty of mysteries still waiting out there! Flapping about like weird bats!!! Over & out, big grin, RL.

[migtatounes]

[billandashley]

I am happy to show you the posters we made for our graduation movie “HERO”! Made with our super team @zhepingxu, @mathieu-corbin, @antoine-vinceneux, @tomaksl , at l’Ecole Georges Méliès ! Soon the trailer... Here is our facebook page : https://www.facebook.com/Herofilm2018

[motsimages]

I loved Gentleman Jack. Excellent scenario, direction and actresses. However, even though I love the work of Suranne Jones, I would have LOVED to see an actress that was not thin and fit for her role. Like, take a look at the original Anne Lister:

Look at that chest. Look at that chin. That woman is maybe 15-20 kilos heavier than Suranne Jones, if not more. Probably very strong, given the sportive nature of Anne Lister, but why didn't we get a fat butch instead? I don't think Anne Lister was fat, don't get me wrong, I think she is my size and that would be "plus size model" (which is still NOT fat), but since we are hiring someone who is not physically similar to Anne Lister, why not a fat woman? Why not a big strong woman? Why was it a thin and wiry woman? Are there not bigger actresses available for this who can give the big dyke energy? I doubt it.

I had the same trouble with Colette. Regardless of my personal opinion on Keira Knightley, why was she casted instead of, I don't know, Jennifer Lawrence or Kate Winslet? I'm not even asking for a fat actress, I'm just asking for someone with boobs big enough to need to use a bra for walking down the street. And Colette was thinner than Anne Lister, but still bigger than Keira.

I really wish I could see someone with a body similar to mine on screen. It really would help many people to relativise their own size and body type. I am currently at 70 kg or so, and my breasts are a Spanish size 95C. I'm not really that big or that fat, I do a lot of sport. But even a body type like mine is considered "too big" for series and films.

It bothers me that even for 19th Century-beginning of 20th Century women, they hire thin actresses. Take a look at actresses and dancers of the time. Here, for some choir girls in A trip to the Moon by Meliès. Look at their bellies and their breasts. These were probably young women.

Here, have a wider sample of 19th Century average women (again, look at their chests to get an idea of the size they have):

And even if we want to go for idealised beauty, let's say Alfons Mucha's paintings, his models were all bigger than either Suranne or Keira. Look at the hips and the butts.

Here, some actresses from the 1910s: Dorothy Tennant, Theda Bara, Vera Kholodnaya and Billy Burke.

I could also share some sexy daguerrotypes of what ideal young girls were supposed to be at the turn of the century, but you get an idea already and can look for them yourself.

I also chose to stay in the English-speaking world, with the only exception of Russian actress Vera. Other countries had other models, but I was speaking of English women so I stayed there.

Most of these women are not fat, but are not wiry either. They are fit (they are dancers and actress, or factory workers, it is all physical jobs, I didn't want to add more physical jobs like laundress but this was the usual size even for working/poor women). I like to look at them because they look like me. It already pisses me off that I have to go back over 100 years so that I can see myself in people because they generally refuse to hire an actress that is over 30 years old and over 60 kilos.

They distort reality so much that even if Colette was not fat at all, even if most of the women here look like average women (even thin sometimes), even for our standard, it feels unusual. These ideal women, these beauties are still too big for many series and films today.

[visualandculturalstudies]

Kentridge Video Installation

Thursday, September 12–Sunday, September 29, 2013 Hartnett Gallery

In tandem with Kentridge’s visit, his video installation “7 Fragments of George Meliès,” with “Day for Night” and “Journey to the Moon,” will be on display at the Hartnett Gallery, Wilson Commons, from September 12-29.  Hartnett Gallery is a student-supported, professional art gallery at the University of Rochester.

In September 2013, William Kentridge, the renowned South-African graphic artist, film-maker, and theater and opera director, came to the University of Rochester as the 2013 Distinguished Visitor in the Humanities. His visit was sponsored by the Office of the President and the College of Arts and Sciences, with the collaboration of the Departments of English and Art and Art History, the Film and Media Studies Program, The George Eastman House Museum of Photography and Film, Rush Rhees Library, the Humanities Project, and the Selznik School of Film Preservation.

[masticadoresdeletras]

El escamoteo de una Dama by j re crivello

El escamoteo de una Dama by j re crivello

No es hasta 1896 cuando se descubre en el cine el trucaje, su padre es Meliès. En dicha película rorada en el jardín de su finca, al aire libre, ante un telón pintado, detiene la cámara para dejar que la dama desaparezca. Al año siguiente en su película “Fausto y Margarita”, la sustituye por el diablo. Luego Melès profundizará en esta dirección hasta construir un estudio en su finca con el techo…

[michelagiulia]

"A trip to the Moon", Georges Meliès. . . . . . . . .#movie#cinémafrançais#frenchmovie#georgesmeliès#20july1969#50thanniversary https://www.instagram.com/p/B0JkO8FC7vc/?igshid=kl0z1yz9naqb

[vyragosa]

at first i didn't pay no mind to auditorium but now i almost love it too much

he is very obviously inspired by george meliès, his whole fucked head is blatantly a trip to the moon inspired, but most importantly, it's the fact that he makes it his mission to project the truth through insipid and meaningless heavily censored movies, it's the fact that luca is always driven by making the "truth" known and especially given his own failing memory caused by brain damage, there's something infinitely heartbreaking in that and i can't put it into words, it hits deep and i cannot comprehend how it could not be more touched upon

"Cinemas in the Metropolis have no place for pain, sorrow, or criticism. Yet with his secret splicing, some of the classic scenes found their way into the meaningless films—albeit for a split second."

The Auditorium's abnormal eyes. He works day and night, tirelessly, to play the movies embedded in his head through his lens.

The Auditorium dons a humble, classy suit. In this fierce media battle, he carries himself with civility and elegance, and embodies a priceless, vintage temperament.

His cold, intricate, vintage projector is fit to match with the Auditorium. Only by this way can the bindings of the Metropolis be escaped.

[eulinoslivros]

Ficção científica e seus multiversos de criatividade

Para OUVIR o episódio de meu podcast, siga: https://www.megafono.host/podcast/universo-literario/ficcao-cientifica-e-seus-multiversos-de-criatividade

Esta semana, aproveitando que dia 1 de setembro, neste domingo último, foi o aniversário do dia do lançamento na maravilhosa França do filme Le Voyage dans la lune (Viagem à Lua) de George Meliès em 1902 (há 117 anos), considerado o primeiro filme de ficção científica vamos falar sobre esse gênero que, embora não seja levado tão a sério pelos críticos é adorado pelas pessoas.

Ficção científica se refere a uma forma de ficção que se desenvolveu no final do século XIX e início do século XX e denomina qualquer ficção que inclua um fato científico como um componente essencial da narrativa. Lida, basicamente, com o impacto e a influência da ciência ou da tecnologia, seja ela real ou imaginária, sobre a sociedade ou sobre as pessoas.

Suas raízes na história da literatura remontam ao século XIX, com a novela gótica, Frankestein, da escritora inglesa Mary Shelley e também tem eco no terror psicológico de Robert Louis Stevenson (O Médico e o Monstro), os romances de Júlio Verne (Viagem ao Centro da Terra), baseados nas invenções científicas, e as novelas de crítica social de H. G. Wells (A Guerra dos Mundos).

A FC é Conhecida também como a "literatura das ideias" e evita, na maioria das vezes, utilizar-se do sobrenatural, tema mais recorrente na Fantasia,baseando-se em fatos científicos e reais (ou extrapolados) para compor enredos ficcionais

Há, evidentemente, muitos tipos de ficção científica. Os dois principais tipos são a ficção científica soft como por exemplo as séries televisivas Star Trek (Jornada nas Estrelas), Battlestar Galactica e Doctor Who, e também a ficção científica hard como por exemplo os filmes 2001: Uma Odisseia no Espaço, Blade Runner e Solaris.

Há também alguns filmes que se utilizam de temas recorrentes na ficção científica embora tenham mais características do gênero fantasia, como por exemplo a série de filmes Star Wars, classificada como fantasia científica e space opera

Como o ouvinte pode ter percebido pelas citações anteriores, as séries, filmes e livros de ficção científica são extremamente populares e conhecidas tendo uma influência na cultura popular muito grande.

A Ficção Científica teve um grande impulso de desenvolvimento a partir de 1926, quando Hugo Gernsback fundou a Amazing Stories Magazine, que era devotada exclusivamente a estórias deste gênero de literatura. O rádio, a televisão e o cinema têm reforçado grandemente a popularidade da Ficção Científica, como o ouvinte pode perceber.

Entre os maiores expoentes do gênero, destacam-se autores como os russos Ayn Rand (A Nascente) e Isaac Asimov (Eu, Robô), os britânicos Arthur C. Clarke (Poeira das Estrelas) e J. G. Ballard (Crash), e os norte-americanos Ray Bradbury (Fahrenheit 451) e Philip K. Dick (Andróides Sonham com Ovelhas Elétricas).

O enfoque destes autores inclui predições, muitas vezes em tom de distopia, de sociedades futuras na Terra, além de análises das consequências da tecnologia, como viagem interestelar e a exploração de formas de vida inteligentes fora da Terra e suas sociedades em outros planetas e galáxias.

Apesar de ser considerada por poucos como gênero literário favorito, a Ficção Científica ganhou bastante popularidade devido ao rádio, televisão, histórias em quadrinhos e cinema. Muitas vezes, as obras são adaptações de romances famosos, como no caso dos filmes 2001, uma Odisseia no Espaço, de Stanley Kubrick, e Blade Runner, de Ridley Scott. São muitas as obras de ficção científica de modo que é até difícil indicar, mas eu vou cair nesse terreno pantanoso fazer algumas indicações.

Eu recomento ao ouvinte os livros: Da terra à Lua e Vinte mil léguas submarinas de Júlio Verne, A guerra dos mundos e a máquina do tempo de H.G. Wells; Eu, robô e viagem fantástica de Asimov, O vento solar e Encontro com Rama de Arthur C. Clarke.

E recomendo as séries: Electric Dreams, Perdidos no espaço, Battlestar Gallactica, Star Trek, Westworld e Black Mirror entre outras

E também os filmes: Blade Runner, Interestelar, Perdido em Marte, Oblivion, No limite do amanhã, Matrix e 2001: uma odisseia no espaço. Seja lendo, ouvindo ou assistindo séries e filmes a pedida e se divertir com a ficção cientifica e explorar os limites da ciência e da tecnologia.

[theponeycosmikclub]

07.30 du mat'... Révisons nos classique #Meliès #cinema