Sugar and spice
And everything nice,
That’s what little girls are made of
A celebration of the creepy, deadly and dangerous litte girls of horror cinema
Iceland, just the hint of the aurora looking out to the mountains beyond Thingvellir. A perfect night.
Kittens play in a jack-o-lantern in Madison, WI, 1965
What are you thinking about?
"This city is a prostitute. She has red spots on her forehead…”
(Rammstein - Moskau)
Rosemary’s Baby (1968) dir. Roman Polanski
"There’s only one way to deal with men - that’s treat them as though you don’t give a damn about them… There’s only one thing they want, and I’ll never know why they make such a fuss about it, but they do. And the more you make them beg for it, the happier they are."
#62 - Repulsion
UK | 1965
Rosamund Pike photographed by Nadav Kander
They called it witch-willow sickness, and told me to not be afraid
and by support mentally ill people who refuse to be medicated, i mean all mentally ill people who refuse to be medicated
not just the ones who refuse their medication because they’ve been misdiagnosed
not just the ones who refuse because of awful side effects
i mean the ones who don’t take their medication because they believe it’s been poisoned by government agents
i mean the ones who just plain don’t want to take meds for no reason other then they don’t like being forced to do anything
if you don’t support ALL mentally ill people’s decisions about their bodies and their treatment then what you are saying is that the mentally ill don’t have a right to autonomy
- Photo study of Fincherian fetishs
"What did you ever do about it ? Oh yeah, I forgot. You went to the library."
Over the past couple of weeks, well-regarded media sources, bloggers, etc. have been putting out some pretty fantastic arguments and essays dissecting the commentary and politics within Gone Girl. It is needless to say that I have been eating them up— even the ones I don’t agree with— because I think it’s interesting how much the book/movie seemingly demands from people. Honestly I don’t remember the last time a single film generated this much thought? Anyway, I’ve been posting select quotes here and there, but I thought I would do a whole post on particular pieces that really resonated with me.*
*when I say “resonated with me” I mean that in a very literal sense. If you want to go find all of the articles that berate Gillian Flynn for being anti-woman you can go Google those ones because you won’t find them here.
“Marriage is an Abduction," The New Yorker. Elif Batuman — “The uncanny thing about “Gone Girl” is that the violations that Amy stages have a way of coming true. It’s as if she doesn’t invent abuse so much as anticipate it. At one point she hits herself in the face, to look like a battered wife—and a few scenes later a couple gangs up on her, beats her, flings her onto a motel bed, and steals the money she wears under her dress, leaving her howling into a pillow. Amy fakes a pregnancy—only to be required, by byzantine demands of the plot, to gain an absurd amount of weight, lose her looks, and plot her own suicide. None of her ruses are any worse than reality; she is only matching the world at its game.”
“Lady Psychopaths Welcome," The New York Times. Maureen Dowd — “The idea that every portrait of a woman should be an ideal woman, meant to stand for all of womanhood, is an enemy of art — not to mention wickedly delicious Joan Crawford and Bette Davis movies. Art is meant to explore all the unattractive inner realities as well as to recommend glittering ideals. It is not meant to provide uplift or confirm people’s prior ideological assumptions. Art says “Think,” not “You’re right.””
“Under the Hood: ‘Gone Girl’ and the Unreliable Narrator," Tribeca Film. Zachary Wigon — “However, an unreliable narrator is a far more powerful device when employed in cinema. Why? Because audiences have a very strong reaction to images that they see - if we see an image in a film, we automatically assume the events depicted to have actually taken place. Unlike text, which may or may not refer to the truth, an image is the truth, and so to depict images, in the course of a film, that later turn out to have been false can be extremely jarring and powerful.”
“Gone Girl’s Feminist Update of the Old-Fashioned Femme Fatale," The New Republic. Becca Rothfeld — “Phyllis Dietrich killed her husband and implicated herself. Amy Dunne “kills herself”—and implicates her husband. And, in so doing, she turns the Cool Girl trope on its sorry head.”
“What Gone Girl is Really About," The New Yorker. Joshua Rothman — ““Gone Girl” is fascinating because it gets at what is unsettling about coupledom: our suspicion that, in some fundamental sense, it necessarily entails victimization. Just as “Fight Club” showed that manliness and violence were imaginatively inseparable, “Gone Girl” raises the possibility that marriage and victimhood are inseparable, too.”
“Destoy All Monsters: ‘I’m That Cunt,’ said the Gone Girl," Twitch. Matt Brown — “Amy is not just the cunt Nick wanted; she’s the cunt he constructed; she’s the interlocking puzzle piece that fits the sawtooth edges of invented personality that any amoral, shiftless, and generally useless modern American male will concoct in order to fill the beats of the programmed script from meet-cute to baby-daddy, with a dusting of sugar in between.”