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@missdashwood
Ok gloomer, CΓ©line Domas

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New York, Winter 78
Source: Old New York City
Vintage Sleeping Beauty Christmas illustrations π
Jaafar Jackson holds Michael Jackson's eight Grammy awards in Michael (2026), the first time a real award has been used in place of a replica for a film β‘
Wang Feng | Barcelona Bridal Fashion Week

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/ William Eggleston, 1960s - 1970s
What is it you want, Mary? What do you want? You want the moon? Just say the word and I'll throw a lasso around it and pull it down. Hey. That's a pretty good idea. I'll give you the moon, Mary. I'll take it.
DONNA REED & JAMES STEWART as MARY & GEORGE BAILEY It's a Wonderful Life (1946) dir. Frank Capra
Diana Adams of the New York City Ballet in a photo by George Platt Lynes, 1951
Vienna by nik29th
Art by Ziora

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lord of the rings really was lightning in a bottle. it shouldnβt have worked but by god it did. peter jackson, who had no filmmaking education and was mostly known for making low budget splatter movies, had no business going out and changing the movie industry like that but he did. return of the king showed up at the oscars and became one of the most awarded movies of all time. to this day it holds the record for the highest clean sweep. hollywood will keep trying to recreate that magic with bigger budgets and high profile actors and they will keep failing. i look at the state of these blockbusters where everything is smoothed over by soulless cgi and actors are acting opposite tennis balls and they will never hold a candle to the pure heart and soul and craft of the lord of the rings. every single person involved in that project loved being part of it and it fucking shows. iβm so thankful the stars aligned the way they did for these movies to happen like that.
Beaux-Arts des Modes, 1921 π€
Academy Award Winners for Best Cinematography: 2006 β Dion Beebe, ACS, ASC Memoirs of a Geisha (2005) Directed by Rob Marshall Aspect Ratio: 2.39 : 1
Beebe took inspiration from Stanley Kubrickβs Barry Lyndon, the first picture to be lit mainly with daylight and practical candlelight. Though he was faithful to period lighting in the rest of the film, Beebe took great liberties during dance numbers. βJapan had electric lights back then but no ability to use rich color at all,β he says. βBut Rob [Marshall] wanted the deep saturation of color that we used in Chicago. We had a lot of light cues throughout the dance β nothing anybody could have done in the 1930s, but we wanted a dramatic impact,β says Beebe.Β
Traditional sources like oil lanterns, cooking fires, paper lanterns, and antique electrical bulbs dominated the rest of the film. βI knew we wanted to pursue a practical-lighting approach,β says Beebe. βI also knew I wanted to work in very low-light situations.βΒ
Throughout the picture, Beebeβs lighting suggests βa journey through time, a narrative progression,β he says. βYoung Chiyo arrives frightened and scared in this strange house. We wanted it to feel dark and mysterious to capture how it must have felt to this young child.β Then, as Chiyo gains confidence and control of her life, βlight starts to come in. Very subtly, we used this metaphor: the interior opens up and reveals the transformation from young girl to woman to geisha. This was a combination of lighting effects and set design.β Sliding screens are closed at the beginning but open as the film progresses, and panels change from solid wood to reed, paper and glass.Β β [x]
SEASONS ON SCREEN -> Winter in The Holiday (2006)
Andrew Grant Kurtis - "Westminster Chimes at Midnight, London"

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Iβm the first and last person in my bloodline with a tumblr blog
PRIDE & PREJUDICE + earth tones