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Feb. 9th, 2017
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unhistorical:
unhistorical:
[LGBTQ History Month] Blue (1993) was British filmmaker Derek Jarman’s final feature-length film before his death in 1994 of an AIDS-related illness. Blue consists of 75 minutes of only a single shot of blue - “International Klein Blue,” a hue Jarman first encountered in 1974 and which inspired him to make a film. Jarman and three of his favorite actors, including Tilda Swinton, narrate in prose and surrealistic poetry - on fate and history and the universe between clinical, vivid descriptions of living with and dying of AIDS.
Jarman’s narration alternates between gloomy and thoughtful, whispered abstract observations, and sharp, matter-of-fact, explanatory, even mildly perturbed. All this over a still shot of blue, which in its bare minimalism expresses all: The suffocating personal and social stigma of Jarman’s illness. An existentialism both individual and communal, reflecting his own impending death and the lives and deaths of his gay and lesbian friends. “The virus rages fierce,” mourns Jarman, “I have no friends now who are not dead or dying.” “My heart’s memory turns to you.” He lists, presumably, dead friends, his voice dreamy and fading away into blue void: “David. Howard. Graham. Terry. Paul.”
Jarman was diagnosed HIV-positive in 1986 and toward the end of his life began to lose his eyesight. What sight was left “became filtered through a dense blue veil.” In Blue, he muses on color, and illness in colors - yellow for infection, yellow for evil, yellow for bile, yellow for jaundice; green for hospital pyjamas, green for Cytomegalovirus. Blue for blood, sky, for “infinite possibility,” for bliss, for a “bearded reaper” - for Death.
“In the pandemonium of image
I present you with the universal Blue
Blue an open door to soul
An infinite possibility
Becoming tangible”
Full Movie on YouTube
That YouTube link is broken, but you can still find it in parts here.
unhistorical:
unhistorical:
[LGBTQ History Month] Blue (1993) was British filmmaker Derek Jarman’s final feature-length film before his death in 1994 of an AIDS-related illness. Blue consists of 75 minutes of only a single shot of blue - “International Klein Blue,” a hue Jarman first encountered in 1974 and which inspired him to make a film. Jarman and three of his favorite actors, including Tilda Swinton, narrate in prose and surrealistic poetry - on fate and history and the universe between clinical, vivid descriptions of living with and dying of AIDS.
Jarman’s narration alternates between gloomy and thoughtful, whispered abstract observations, and sharp, matter-of-fact, explanatory, even mildly perturbed. All this over a still shot of blue, which in its bare minimalism expresses all: The suffocating personal and social stigma of Jarman’s illness. An existentialism both individual and communal, reflecting his own impending death and the lives and deaths of his gay and lesbian friends. “The virus rages fierce,” mourns Jarman, “I have no friends now who are not dead or dying.” “My heart’s memory turns to you.” He lists, presumably, dead friends, his voice dreamy and fading away into blue void: “David. Howard. Graham. Terry. Paul.”
Jarman was diagnosed HIV-positive in 1986 and toward the end of his life began to lose his eyesight. What sight was left “became filtered through a dense blue veil.” In Blue, he muses on color, and illness in colors - yellow for infection, yellow for evil, yellow for bile, yellow for jaundice; green for hospital pyjamas, green for Cytomegalovirus. Blue for blood, sky, for “infinite possibility,” for bliss, for a “bearded reaper” - for Death.
“In the pandemonium of image
I present you with the universal Blue
Blue an open door to soul
An infinite possibility
Becoming tangible”
Full Movie on YouTube
That YouTube link is broken, but you can still find it in parts here.
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rememberczerny:
one person who can save her. // one person who can save him.
rememberczerny:
one person who can save her. // one person who can save him.
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waskarimlooed:
Grantaire, in whom doubt was creeping, loved to see faith soaring in Enjolras. He had need of Enjolras. Without understanding it himself clearly, and without trying to explain it, that chaste, healthy, firm, direct, hard, candid nature charmed him. He admired, by instinct, his opposite. His soft, wavering, disjointed, diseased deformed ideas, attached themselves to Enjolras as a backbone. His moral spine leaned upon firmness. Grantaire, by the side of Enjolras, became somebody again. - Les Misérables, Victor Hugo
waskarimlooed:
Grantaire, in whom doubt was creeping, loved to see faith soaring in Enjolras. He had need of Enjolras. Without understanding it himself clearly, and without trying to explain it, that chaste, healthy, firm, direct, hard, candid nature charmed him. He admired, by instinct, his opposite. His soft, wavering, disjointed, diseased deformed ideas, attached themselves to Enjolras as a backbone. His moral spine leaned upon firmness. Grantaire, by the side of Enjolras, became somebody again. - Les Misérables, Victor Hugo
via http://ift.tt/2kTdzng:
vintar:
i used to get self-conscious over the smallest things but friends let me tell you that today i had to smuggle a furious 8ft python onto the bus during the school rush and not a single person noticed. not one. if people don’t care enough to notice a shopping bag writhing and seething with barely-contained reptilian hatred then i promise you that no-one will pay any attention to that blemish you’re fretting about or how you’ve done your hair
vintar:
i used to get self-conscious over the smallest things but friends let me tell you that today i had to smuggle a furious 8ft python onto the bus during the school rush and not a single person noticed. not one. if people don’t care enough to notice a shopping bag writhing and seething with barely-contained reptilian hatred then i promise you that no-one will pay any attention to that blemish you’re fretting about or how you’ve done your hair
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gaymalavaiquinn:
the fact that they were literally like “wow we upset gay kids when we put mac back in the closet so we should have him come out for real” is so genuinely heartwarming like so many shows put the purity of their artistic vision over us and our lives
gaymalavaiquinn:
the fact that they were literally like “wow we upset gay kids when we put mac back in the closet so we should have him come out for real” is so genuinely heartwarming like so many shows put the purity of their artistic vision over us and our lives
