speaking of


used to introduce a remark about a topic recently alluded to:


0.0.0 tab chase log

1 - Nathan Rabin’s apology for coining the Manic Pixie Dream Girl

2 - Zoe Kazan’s views on the term

3 - Mindy Kaling on female characters in films

4 - Flavorwire on why we shouldn’t call them Manic Pixie Dream Girl even though they might be

5 - Flavorwire on how Clementine from ‘The Eternal Sunshine of a Spotless Mind’ is all Manic Pixie Dream Girl should be

6 - The Bechdel Test and female characters on film 

7 - Strong Independent Woman and the Strong Female Character 

riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.
{..}
Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved a long the

Finnegan’s Wake by James Joyce

(Source: zolloc.com)

Anne Teresa De Keersmaeker, left, and Michèle Anne De Mey performing “Fase” in 1999”She described the pieces, collectively, as “the very beginning, where somehow I taught myself how to choreograph — literally the first steps.” She created all four for herself and other women, exploring movement “of a very specific character,” she said, “that I think was more linked to the female body.”~ as seen in The New York Times
"This acknowledgment of the unavoidably human dancer in the mechanical process — this drama — was Ms. De Keersmaeker’s swerve from her models in American postmodern dance. Much of the vocabulary is pedestrian: walks, turns, hops. The spatial patterning is lucid: horizontal planes, a circle and its radii. But emotions, not quite controllable, keep surfacing."
~ also in The New York Times 

Anne Teresa De Keersmaeker, left, and Michèle Anne De Mey performing “Fase” in 1999

She described the pieces, collectively, as “the very beginning, where somehow I taught myself how to choreograph — literally the first steps.” She created all four for herself and other women, exploring movement “of a very specific character,” she said, “that I think was more linked to the female body.”
~ as seen in The New York Times

"This acknowledgment of the unavoidably human dancer in the mechanical process — this drama — was Ms. De Keersmaeker’s swerve from her models in American postmodern dance. Much of the vocabulary is pedestrian: walks, turns, hops. The spatial patterning is lucid: horizontal planes, a circle and its radii. But emotions, not quite controllable, keep surfacing."

~ also in The New York Times 

as keetra dean dixon pointed out “the mechanics of happiness”

photo-reply:
(via illusioncinematographique:)

Paris, Texas (Wim Wenders, 1984)
Marie Antoinette (Sofia Coppola, 2006)

I stepped into this conversation and it was like I started it.

Since my house burned down
I now own a better view
of the rising moon

— Mizuta Masahide

spill burn, new addition in the collection of scars 

spill burn, new addition in the collection of scars