kathartie
Katie, 20, from Auckland, New Zealand.
I already am,
I always was,
and I still have time to be.
Writer
Tweeter
Audiophile
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“Wait For Me Daddy,” by Claude P. Dettloff, October 1, 1940: A line of soldiers march in British Columbia on their way to a waiting train as five-year-old Whitey Bernard tugs away from his mother’s hand to reach out for his father.
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Jewish prisoners at the moment of their liberation from an internment camp “death train” near the Elbe in 1945.
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A monk prays for an elderly man who had died suddenly while waiting for a train in Shanxi Taiyuan, China.
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@lizyrmh splashing out with some sparkling water (at Arcadia)
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While I have all kinds of problems with the sort of glorified violence in the movie, Quentin Tarantino knows how to make a movie, he knows where to put a camera, he knows how to make something look, and he loves dialogue more than any other American filmmaker - he has the most distinct voice since Woody Allen - and I will listen to his dialogue and watch his composition for hours and hours and hours, so long as I remember to add the disclaimer, “Yikes!
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You know you wanna.
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Froyo at White’s Freezery
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at St. James Theatre
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Most of our childhood is stored not in photos, but in certain biscuits, lights of day, smells, textures of carpet.
— Alain de Botton -
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Christopher Richard Wynne Nevinson - A Studio in Montparnasse (1926).
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Francis Alÿs, Nightwatch, 2004.
Surveillance cameras observe a fox exploring the Tudor and Georgian rooms of the National Portrait Gallery at night.
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But think about that when the hand-wringing starts about “Django Unchained” and ask yourself why the violence in this movie will suddenly seem so much more problematic, so much more regrettable, than what passes without comment in “Jack Reacher” or “Taken 2.” Mr. Tarantino is a virtuoso of bloodshed, that is for sure, and also more enamored of a particularly toxic racial slur than any decent white man should be. But decency in the conventional sense is not his concern, though in another sense it very much is. When you wipe away the blood and the anarchic humor, what you see in “Django Unchained” is moral disgust with slavery, instinctive sympathy for the underdog and an affirmation (in the relationship between Django and Schultz) of what used to be called brotherhood.
