多少男人女人从这部片子开始喜欢艾尔·帕西诺阿尔把教父的深沉残忍阴暗对兄弟的无情却又不忍真的是完美;又有多少男人女人从这部片子开始喜欢罗伯特德尼罗的沉稳果断绝了这是前传和继作的合集延续地讲叙了一个黑帮帝国的创业和巩固youijzzz mobile japen只能以流血、无情残忍9.5
阮aa:123.233.72.233
看惯好莱坞叙事的观众看这种片子难免会被满溢的音乐cheesy的慢镜头抓马的表演turn off. 但如果当做一个daytime tv show那样看还算有趣
青花鱼罐头:171.9.172.40
被放慢的大风水滴坍塌下来的天花板youijzzz mobile japen都是要命的时间乍看是和记忆一样无序的碎片然而拼接起来之后那些印象化的场景就像每个人的童年碎片一般浮现然后被别的碎片替代抽象画一般让影像跳过叙事直击人的情绪片尾的大合唱中母亲看着年老的自己牵着尚未出生的主人公走过实则是最感人的场景
1980年代纽约ballroom culture / realness的意义在于融入成为他们straight & white counter part同时也作为一种resistance而存在 / House as a family / social oppression / ballroom里面的Queen在这个房间里收获了自己想要的肯定和fame但最终还是要面对更大的世界youijzzz mobile japen还是想要做一个“正常人”
预谋者:139.213.147.176
毁灭吧累了大家一起发烂发臭 now what left between us is nothing.
默聆飞绪:222.51.254.64
bell hooks, "ethnographic gaze", "an outsider looking in", "does not oppose the way hegemonic whiteness 'represents' blackness but rather assumes an imperial overseeing position that is in no way progressive or counterhegemonic." Judith Butler, "camera itself is empowered as phallic instrument", "the vehicle through which the transubstantiation occurs", "an instrument and effect of lesbian desire", "to enter into a logic of fetishization which installs the ambivalence of that 'performance" as related to our own." 但说实话自己观影时没觉得这部的gaze有多problematic/patronizingyouijzzz mobile japen可能因为我本身就是一个凝视这个群体的外人