“This volume gives a detailed overview of the life and work of Christo and Jeanne-Claude, from early drawings and family photos to plans for future projects. It features hundreds of previously unpublished photographs, drawings and plans for realized works, an incisive and detailed history spanning the entire oeuvre, and in-depth interviews, in a lavish edition designed by Christo himself.”
I WANT THIS.
Captivating descriptions about the femme fatale character in film noir movies in the article linked above, including femme fatales as “protofeminist forerunners.” Unfortunately, it claims that femme fatales rarely exist in films/movies today. PITY.
“She smoldered, she coveted, she hated, she schemed and, above all, she manipulated the men in her life — alternately offering and withholding the promise of love and a mind-blowing screw, playing the poor saps like puppets as the moment required.”
“The femme fatale isn’t passive, waiting for her life to improve on its own. Instead she takes the initiative, attacking the problem with nerve, drive and intelligence. Yes, she uses cat’s-paws, rather than her own paws, to accomplish her goals…She is the actor, he the acted upon. It’s she who controls her destiny, for better or worse.”
[This sudden/random feminism-inspired post was influenced by my current reading of journal articles about Cindy Sherman’s Untitled Film Stills. Pardon me.]
Marilyn Monroe’s favourite photograph of herself, by the British photographer Cecil Beaton in New York.
February 22, 1956
A late delivery but well hung and only favorites from the likes of Radiohead, DJ Danger Mouse, RJD2, Hercules & Love Affair, Dinosaur Jr, Nicolas Jaar, Delta5, Jamie Woon, Gil Scott Heron & Jamie XX, Rhythm & Sound, Lootpack and DJ Shadow.
I did not like Lykke Li’s new album at first listen; I was still attached to Youth Novels, that’s why. The melodramatic tunes plus the rebellious youth vibe in that previous album was the Lykke Li that I’ve grown used to. However, I think she found her true sound in this one…and it is rapidly growing on me.
I am loving her new look/packaging as well. Very Sweden. Except, maybe, for that Get Some video. Why do I see a resemblance to Lady Gaga?!
Stream the entire album here.
Who else is, like me, in love with PJ Harvey and her new album?!
I was rooting for Michelle Willams to win Best Actress.
However, as most predicted, Natalie Portman won the award for Black Swan. I watched the film and yes, I do praise Portman for her performance. I must say that the disturbed, insecure, paranoid and extremely perfectionist Nina is quite a character — must have been an effort to embody, and yet Portman pulled it off excellently. She also gained my admiration and respect for the fact that she rigorously trained and prepared for that role for a year. Now THAT, is total commitment.
However, I felt like all the grandiose elements in the movie collectively aided Natalie Portman in her portrayal of Nina’s character, and in turn, elevated the perception of the public of her performance. Look: the film itself had a unique and interesting concept/theme (one that has not been done as much before); it had beautiful art direction, luxurious costumes, popular designers (Mulleavy sisters) and top-of-the-line choreography/ers; and it had the talented Darren Aronofsky as a director. What could possibly go wrong, right? All of these over-hyped Natalie Portman as well, and made her performance appear better than it really was.
I watched Blue Valentine last night, and I will strongly say that Michelle WIlliams delivered a more Oscar-worthy performance. First, Williams showed such a range of emotions as she portrayed different facets of her character, Cindy Heller, as opposed to Natalie Portman who acted only one side of Nina, the ballerina: the insecure, delusional and obsessive side. Watch Black Swan again, and you’ll notice that there was only one expression on Portman’s face all throughout the movie. On the other hand, Williams dynamically portrayed both the younger, carefree, charming/charismatic Cindy Heller AND the older, tired, and grown-out-of-love Cindy Heller with such amazing contrast that I really saw the difference and the change in the character. Second, there was nothing fancy about the movie: Williams had minimal make-up, and there were no designer clothes, nor any awe-inducing cinematic effects; what I saw was just plain Michelle Williams and her poignant portrayal of the character, and nothing else. She was real and believable, and her performance was truly memorable (I mean, who would ever forget that song number + tap dance?!). For all of these, she should have won that Best Actress Award.
Watch the film, and you’ll definitely see what I mean.