he throws a
mannequin
as it falls she
realizes
she is naked
in the street
to compete
with other
mannequins
in the window
they pivot
he turns to
see some more
Monday, November 17, 2008
Loves of a Blonde: Part 1
A ring slides off one finger
and falls on another, tangled
tresses ponder the color
of his eyes, a forest hushed
by snow sleeps while a diagonal-
striped tie gropes a tree. What
does it mean? The ring strikes a chord
against the floor, rolls between toes,
strolls between her legs. He spreads them
to find it, yet he finds a void.
He spreads her fingers to find
a path to lie, her wrist is slit,
that's sexy to him, doubts twist,
Him asking her to go is the
invitation she needs, his embrace
is laced with combat, distracts her
hips as shoes woo the floor, the heat
of a hand on her nape escapes,
a face plies a wall as a torso
cuffs to block breasts from the moon. White
noise from sheets cause her to trust fumes
of solitude. She rubs the hair
between her legs, it speaks, she plays
naked in a coat as she peaks
out the door to find another
version of herself, she stalks
voices behind it and finds
a ring she does not wear.
and falls on another, tangled
tresses ponder the color
of his eyes, a forest hushed
by snow sleeps while a diagonal-
striped tie gropes a tree. What
does it mean? The ring strikes a chord
against the floor, rolls between toes,
strolls between her legs. He spreads them
to find it, yet he finds a void.
He spreads her fingers to find
a path to lie, her wrist is slit,
that's sexy to him, doubts twist,
Him asking her to go is the
invitation she needs, his embrace
is laced with combat, distracts her
hips as shoes woo the floor, the heat
of a hand on her nape escapes,
a face plies a wall as a torso
cuffs to block breasts from the moon. White
noise from sheets cause her to trust fumes
of solitude. She rubs the hair
between her legs, it speaks, she plays
naked in a coat as she peaks
out the door to find another
version of herself, she stalks
voices behind it and finds
a ring she does not wear.
Masculin Feminin
Black and white he speaks as he writes she turns
the pages of the magazine but does not
read, he reads what he says to her what will
they be? Woman shoots gun, in a café
the sound of the street is louder than the
outside, he asks for sugar to see if
her breasts are sweet, he chews the sugar,
sips his coffee to leave, in a washroom
she washes her hand combs her brunette mane
while they discuss the etiquette of lies
Will his comments on her beauty get him
laid? If you add the poor girls to the rich
girls and divide by two you will not get
an average, gray does not exist. So what
is she or what will she be? Small talk inside
and muffled voices behind the door
two kisses disjoint locked libido.
Woman shoots gun. Lyrical intercourse
surrounds ears as a hand pulls a shoulder
to propose marriage. Will he and she become
them? They dance she leaves a photo booth
contained by strangers expensive breasts, three
frames of nothing, “I might dump her,” he says
a frosted window with naked bodies and giggles behind
while she sleeps his hand creeps below a sheet.
she is pregnant, he is dead. What will she be?
the pages of the magazine but does not
read, he reads what he says to her what will
they be? Woman shoots gun, in a café
the sound of the street is louder than the
outside, he asks for sugar to see if
her breasts are sweet, he chews the sugar,
sips his coffee to leave, in a washroom
she washes her hand combs her brunette mane
while they discuss the etiquette of lies
Will his comments on her beauty get him
laid? If you add the poor girls to the rich
girls and divide by two you will not get
an average, gray does not exist. So what
is she or what will she be? Small talk inside
and muffled voices behind the door
two kisses disjoint locked libido.
Woman shoots gun. Lyrical intercourse
surrounds ears as a hand pulls a shoulder
to propose marriage. Will he and she become
them? They dance she leaves a photo booth
contained by strangers expensive breasts, three
frames of nothing, “I might dump her,” he says
a frosted window with naked bodies and giggles behind
while she sleeps his hand creeps below a sheet.
she is pregnant, he is dead. What will she be?
Tuesday, November 11, 2008
L'Histoire d'Adèle H
Cosmetics and wardrobe deconstruct, in Françoise Truffaut’s L’Histoire D’Adele H, to accentuate the mental unraveling of Adele.
During the beginning of the film, we see a beautifully composed femme. She is full of hopes that she will be able to re-acquire her intimate connection with her lost love [character]. She has a trunk of beautiful silk dresses. Her mane is proper, soft as the silk of her garb, her lips are soft and subtle, and her skin is flawless. However, they gradually wear out while her hopes depreciate in her reality.
As the story progresses, her wardrobe becomes stale. Her mane is sporadically wild. Her flesh becomes flushed with sweat. She also rarely changes her dresses. Adele tends wear the red dress on the regular basis. Her grasp on reality diminishes as she dwells within her misery. This frame of mind assists her attempts of blocking her lost love from proceeding in his current life by lying and even attempting to have him hypnotized into marrying her. This takes place as she tries to convince her former lover that he should return to her. However, he continues to resist and provides her with glimpse into another woman’s boudoir. Her costume further deconstructs from here.
By the end of the film, her dress is dusty and ripped. Dogs in poverty-stricken streets follow the edges of this dress complementing it with more tears. Her skin bears the pale equivalent of a corpse. She is among the walking dead. At this point of the film, she lacks the mental capacity of even acknowledging her lost love on the street. She is in fact gone. She has completely retired from reality.
During the beginning of the film, we see a beautifully composed femme. She is full of hopes that she will be able to re-acquire her intimate connection with her lost love [character]. She has a trunk of beautiful silk dresses. Her mane is proper, soft as the silk of her garb, her lips are soft and subtle, and her skin is flawless. However, they gradually wear out while her hopes depreciate in her reality.
As the story progresses, her wardrobe becomes stale. Her mane is sporadically wild. Her flesh becomes flushed with sweat. She also rarely changes her dresses. Adele tends wear the red dress on the regular basis. Her grasp on reality diminishes as she dwells within her misery. This frame of mind assists her attempts of blocking her lost love from proceeding in his current life by lying and even attempting to have him hypnotized into marrying her. This takes place as she tries to convince her former lover that he should return to her. However, he continues to resist and provides her with glimpse into another woman’s boudoir. Her costume further deconstructs from here.
By the end of the film, her dress is dusty and ripped. Dogs in poverty-stricken streets follow the edges of this dress complementing it with more tears. Her skin bears the pale equivalent of a corpse. She is among the walking dead. At this point of the film, she lacks the mental capacity of even acknowledging her lost love on the street. She is in fact gone. She has completely retired from reality.
La Nuit Americaine
Le Nuit American, Directed by François Truffaut depicts the parallels between life and art.
Like life, the in the midst of film production, anything can go wrong. For instance, director Ferrand, played by Francois Truffaut himself, has to accept the restraints of movie-house schedules. He also has to consider his surroundings due to mise-en-scene. He has to handle his cast with delicate care due to their melodramatic lifestyles and temperament. He even has to work around death. However, he has to complete the film. These ongoing and unforgiving obstacles must take place in order for the film to be completed. Therefore, the art of directing a film mirrors life.
Regardless of what incidents may occur in day-to-day life, life goes on. Le Nuit American heavily portrays this.
For instance, Although Julie and Alphonse, two significant actors in Ferrand’s film, end up having brief mental breakdowns during the production of it. This is because Alphonse has a fit when his girlfriend leaves him for a stuntman. Of course, Julie ends up committing adultery in order to convince him to stay to complete the film. Regardless, the film is eventually completed.
This film is light-hearted yet well induced with the sporadic incidents between of life and art. Proving they are essentially intertwined while at the same time parallel.
Like life, the in the midst of film production, anything can go wrong. For instance, director Ferrand, played by Francois Truffaut himself, has to accept the restraints of movie-house schedules. He also has to consider his surroundings due to mise-en-scene. He has to handle his cast with delicate care due to their melodramatic lifestyles and temperament. He even has to work around death. However, he has to complete the film. These ongoing and unforgiving obstacles must take place in order for the film to be completed. Therefore, the art of directing a film mirrors life.
Regardless of what incidents may occur in day-to-day life, life goes on. Le Nuit American heavily portrays this.
For instance, Although Julie and Alphonse, two significant actors in Ferrand’s film, end up having brief mental breakdowns during the production of it. This is because Alphonse has a fit when his girlfriend leaves him for a stuntman. Of course, Julie ends up committing adultery in order to convince him to stay to complete the film. Regardless, the film is eventually completed.
This film is light-hearted yet well induced with the sporadic incidents between of life and art. Proving they are essentially intertwined while at the same time parallel.
Alphaville
Alphaville, directed by Jean-Luc Godard humors the elimination of femininity.
The major contributor to this effort is the script. For instance, in one particular scene, main character Lemmy Caution corrects Natacha Von Braun when she repeats the words “Le Conscious” by pronouncing the correct article “La”— the feminine article versus the masculine.
Part of the story also reveals that words are gradually removed from the dictionary like "autumn sun." This phrase is a concrete form of imagery. Imagery is a feminine form. Therefore, it is removed from the dictionary. Furthermore, the script reveals that artists and poets are all dead. This further dismantles the existence of femininity within the film.
In Alphaville emotions are banned. One cannot display any form of concern or tenderness toward another. It is true that both men and women possess the ability to express emotion. However, it is also common knowledge that men tend to react with a pretense based from logic. Here again femininity is being edited.
The most dramatic illustration femininity’s demise is the portrayal of the female character. They are brainwashed and tagged with serial numbers. As I mentioned before, they are not suppose to express emotions and are merely servants and sex objects. For instance, in two different scenes two different woman, Lemmy is escorted to a hotel room. Both women recite very similar scripts as if there is no tolerance for variation. They both constantly ask him. “are you tired?”
Basically, Godard succeeds at removing the feminine traits and aspects of femininity throughout Alphaville. How the characters see, feel, speak, and behave is all altered. Because of this, the film was able to mimic an android-like portrayal.
The major contributor to this effort is the script. For instance, in one particular scene, main character Lemmy Caution corrects Natacha Von Braun when she repeats the words “Le Conscious” by pronouncing the correct article “La”— the feminine article versus the masculine.
Part of the story also reveals that words are gradually removed from the dictionary like "autumn sun." This phrase is a concrete form of imagery. Imagery is a feminine form. Therefore, it is removed from the dictionary. Furthermore, the script reveals that artists and poets are all dead. This further dismantles the existence of femininity within the film.
In Alphaville emotions are banned. One cannot display any form of concern or tenderness toward another. It is true that both men and women possess the ability to express emotion. However, it is also common knowledge that men tend to react with a pretense based from logic. Here again femininity is being edited.
The most dramatic illustration femininity’s demise is the portrayal of the female character. They are brainwashed and tagged with serial numbers. As I mentioned before, they are not suppose to express emotions and are merely servants and sex objects. For instance, in two different scenes two different woman, Lemmy is escorted to a hotel room. Both women recite very similar scripts as if there is no tolerance for variation. They both constantly ask him. “are you tired?”
Basically, Godard succeeds at removing the feminine traits and aspects of femininity throughout Alphaville. How the characters see, feel, speak, and behave is all altered. Because of this, the film was able to mimic an android-like portrayal.
Le Mẽpris: Contempt
Without explicitly denoting the failure of Paul and Camille’s relationship, Jean-Luc Godard brilliantly implies the seed of its demise in Contempt.
Of course, it is not Godard’s style to feed his viewers a story’s true beginning. So, very early in Contempt during a scene filmed in erotic red tones, wife Camille lays nude, questioning husband Paul’s content with her body: part by part. As the film cuts to melancholic blue tones, Paul confesses that he lovers her “totally and tragically.” She claims that she loves him too, but this is not true.
The truth is that she despises him for this love. This is because she does not feel the same. His display of affection only intensifies her disgust.
In two different scenes, ignorant-arrogant-American film producer Jeremy Prokosch makes improper advances toward Camille. Both times, her husband insists that she go off with him, so she does.
Therefore, Camille resents him for this. What initially appeared as a rude gesture by Paul is not. It is this “tragic” love he has for Camille. He is willing to let her go even if he inevitably loses her. This occurs although the story seems to be framing a parallel between Odyssey and Paul in reference to why they leave their wives. Instead, the story reveals. He is concerned for her happiness. She again despises him for having such immense love as well as being innocently accurate in projecting her lacking. He is painfully correct, she is wrong.
This revelation is implied because this content is conveyed through the actions and emotions portrayed between Paul and Camille. However, it is not actually apparent within the extensive dialogue that takes place in the numerous disagreements between Paul and Camille. Basically, Camille knows she is not worthy of such amounts of love, therefore, she is in contempt by disrespecting her marriage.
Of course, it is not Godard’s style to feed his viewers a story’s true beginning. So, very early in Contempt during a scene filmed in erotic red tones, wife Camille lays nude, questioning husband Paul’s content with her body: part by part. As the film cuts to melancholic blue tones, Paul confesses that he lovers her “totally and tragically.” She claims that she loves him too, but this is not true.
The truth is that she despises him for this love. This is because she does not feel the same. His display of affection only intensifies her disgust.
In two different scenes, ignorant-arrogant-American film producer Jeremy Prokosch makes improper advances toward Camille. Both times, her husband insists that she go off with him, so she does.
Therefore, Camille resents him for this. What initially appeared as a rude gesture by Paul is not. It is this “tragic” love he has for Camille. He is willing to let her go even if he inevitably loses her. This occurs although the story seems to be framing a parallel between Odyssey and Paul in reference to why they leave their wives. Instead, the story reveals. He is concerned for her happiness. She again despises him for having such immense love as well as being innocently accurate in projecting her lacking. He is painfully correct, she is wrong.
This revelation is implied because this content is conveyed through the actions and emotions portrayed between Paul and Camille. However, it is not actually apparent within the extensive dialogue that takes place in the numerous disagreements between Paul and Camille. Basically, Camille knows she is not worthy of such amounts of love, therefore, she is in contempt by disrespecting her marriage.
Les Carabiniers
Director Jean-Luc Godard flirts with the classics in Les Carabiniers.
All of the main character’s names in this film relate to Roman history. Ulysses and Venus come from Roman myth. Michelangelo is a world-renowned sculptor and painter from Rome. Cleopatra is intricately connects to Roman history because of her affairs with Julius Caesar and Mark Antony. It is the distortion of how they are portrayed that creates a sense of intrigue in this film.
Like Ulysses of Roman Mythology Godard’s Ulysses is involved with war. They both lead troops, however, the latter portrays a more brutal persona. This is because Godard seems to be trying to illustrate the true aspects of war: cold-graphic executions and senseless justifications of war. Michelangelo is the most distorted character.
The Michelangelo of Rome is one of the most world-renowned artists of the high renaissance period. His talents closely place him in virtuoso status. Goddard’s portrayal shows Michelangelo as a bona fide moron right down to the his mannerisms. This is ironic because Michelangelo of Rome is also referred to as mannerist. The closest form of art that Godard’s Michelangelo comes close to is attempting to feel-up a woman taking a bath on a film screen. Although it has not escaped me that during the period of the High Renaissance that artist would dig up human bodies in order to perfect their compositions. Could this mirror the vain reasoning of Godard’s character Michelangelo?
Like Cleopatra of Egypt, Godard’s was involved with two men of military backgrounds (in this film’s case they are Ulysses and Michelangelo). She also comes across as having a thirst for power but has very little physical involvement in the acquisition. However, she does not exude the power and intelligence as the former.
Godard’s Venus seems more complicated to deconstruct. Considering the Venus of Roman mythology is the Goddess of love, and Les Carabiniers is a film about War and its appetite for spoils, Godard’s Venus seems to portray what happens when love goes wrong. However maybe this is the most accurate depiction translated to a different period for a different purpose. I do not recall very many Roman myths related to Venus that involved beautiful endings.
All of the main character’s names in this film relate to Roman history. Ulysses and Venus come from Roman myth. Michelangelo is a world-renowned sculptor and painter from Rome. Cleopatra is intricately connects to Roman history because of her affairs with Julius Caesar and Mark Antony. It is the distortion of how they are portrayed that creates a sense of intrigue in this film.
Like Ulysses of Roman Mythology Godard’s Ulysses is involved with war. They both lead troops, however, the latter portrays a more brutal persona. This is because Godard seems to be trying to illustrate the true aspects of war: cold-graphic executions and senseless justifications of war. Michelangelo is the most distorted character.
The Michelangelo of Rome is one of the most world-renowned artists of the high renaissance period. His talents closely place him in virtuoso status. Goddard’s portrayal shows Michelangelo as a bona fide moron right down to the his mannerisms. This is ironic because Michelangelo of Rome is also referred to as mannerist. The closest form of art that Godard’s Michelangelo comes close to is attempting to feel-up a woman taking a bath on a film screen. Although it has not escaped me that during the period of the High Renaissance that artist would dig up human bodies in order to perfect their compositions. Could this mirror the vain reasoning of Godard’s character Michelangelo?
Like Cleopatra of Egypt, Godard’s was involved with two men of military backgrounds (in this film’s case they are Ulysses and Michelangelo). She also comes across as having a thirst for power but has very little physical involvement in the acquisition. However, she does not exude the power and intelligence as the former.
Godard’s Venus seems more complicated to deconstruct. Considering the Venus of Roman mythology is the Goddess of love, and Les Carabiniers is a film about War and its appetite for spoils, Godard’s Venus seems to portray what happens when love goes wrong. However maybe this is the most accurate depiction translated to a different period for a different purpose. I do not recall very many Roman myths related to Venus that involved beautiful endings.
Vivre sa vie
epiphany in candid poses of
bliss, his and her backs distract the focus
of themselves, her blurred reflection is his
further obstructed, bird’s eye views
black passage blocked entry eviction
dissolves, revolve a silent film, condemns
a misses at the stake, tears on screen
mirror on-screen tears: big-blue-almond eyes
disguise a prostitute, shall we humor some
photos? eleven pm undress dissolve
one thousand francs wait in the street for
the john premier Doom, room twenty-seven
entry reflects our exterior: dirty
soap and a stiff rag on the dresser—close
the sheer drapes, a pocket full of wrinkled
francs ,an insult makes her smile, behind his
back: peek-a-boo miss? she dances by herself:
a masquerade of bosoms bliss: ah the
epiphany, where it is suppose
to be? Once a body poses in silence
and the mind dances alone— both die, she
thinks she is going to close her storefront
vagina, instead a pelvis is traded
for postmortem mannerisms or?
bliss, his and her backs distract the focus
of themselves, her blurred reflection is his
further obstructed, bird’s eye views
black passage blocked entry eviction
dissolves, revolve a silent film, condemns
a misses at the stake, tears on screen
mirror on-screen tears: big-blue-almond eyes
disguise a prostitute, shall we humor some
photos? eleven pm undress dissolve
one thousand francs wait in the street for
the john premier Doom, room twenty-seven
entry reflects our exterior: dirty
soap and a stiff rag on the dresser—close
the sheer drapes, a pocket full of wrinkled
francs ,an insult makes her smile, behind his
back: peek-a-boo miss? she dances by herself:
a masquerade of bosoms bliss: ah the
epiphany, where it is suppose
to be? Once a body poses in silence
and the mind dances alone— both die, she
thinks she is going to close her storefront
vagina, instead a pelvis is traded
for postmortem mannerisms or?
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