Postmodern Elements of the Contemporary Horror Film, Isabel Cristina Pinedo
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Postmodern Elements of the Contemporary Horror Film, Isabel Cristina Pinedo

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Christâs side wound in illuminated manuscripts
Do you understand? When I am done telling you these stories, when youâre done listening to these stories, I am no longer I, and you are no longer you. In this afternoon we briefly merged into one. After this, you will always carry a bit of me, and I will always carry a bit of you, even if we both forget this conversation.
âHao Jingfang, âInvisible Planets,â in Invisible Planets: Contemporary Chinese Science Fiction in Translation, tr. & ed. Ken Liu
View of the Cloister Garden (detail), c. 1878. Georg Petzoldt

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ToshirĂ´ Mifune in Scandal (Akira Kurosawa, 1950)
HERE WE ARE, IN THE OUROBOROS, DOING IT AGAIN. HOPING SOME DAY THIS DANMED CYCLE ENDS.
YOU CAN NEVER GO BACK! YOU CAN NEVER GO BACK! YOU CAN BITE AND SCRATCH AND BEG BUT YOU CAN NEVER GO BACK!
since im on a roll about tragedies:
i am sick to death of fourth wall breaks that are funny. i want fourth wall breaks that make me want to cry.
give me hamlet looking up during his monologue to see the audience and plead with them for help. give me orpheus, on the road back up from the underworld begging us to make sure eurydice is there, to tell him she is safe. give me orpheus turning when the audience stays silent.
give me someone, bloody and full of tears monologuing to the camera when the narrative has wound itself so tight that they can't escape it anymore.
"youre just watching me. help me. im dying and im rotting and im losing myself and you wont do a thing."
i want the tragedy to be the performance. i want the tragedy to be, truly, in the eyes of the beholder.

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on cycles
a syllabus of orbits, loops, repetitions, and returns
loops, the limits of language, the paradoxical loneliness of "i love you," and what keeps love alive by maria popova
an installment of popova's newsletter the marganialian that draws on the writing of roland barthes. popova begins by describing her repeated daily walking routes, drawing a connection between the repetition of movement and the repetition of speech and feeling-- the recurrent declaration of "i love you."
why did our universe begin? with roger penrose
video with nobel prizewinning physicist roger penrose that explains his theory of "conformal cyclic cosmology": that our universe's deep past bears a similarity to its deep future, giving evidence for an infinitely cycling timeline. see the essay "time after time" by paul halpern for more on physics and cyclical time.
"time, space, and the eclipse of the earth" (part i: abstraction) by david abram
from ecologist and philosopher david abram's book the spell of the sensuous. in this section, he distinguishes broadly between how space and time are viewed in oral cultures and literate cultures. he focuses on the alignment between oral cultures and a cyclical model of time, discussing why alphabets and writing might affect the way space-time manifests in a cultural imagination.
the hero with a thousand faces by joseph campbell
book by mythologist and literature professor joseph campbell describing his archetypical "hero's journey" cycle, a basic multi-step plot shared by myths and stories across many centuries and cultures (also called a "monomyth"). for a condensed version of the hero's journey, see this diagram by lisa paltz spindler designed for the gunn center for the study of science fiction.
"on small seasons and long calendars" by ross zurowski
essay by designer ross zurowski on how we divide and mark time, arguing that we should begin to divide our lives into more organic and useful phases. the essay is inspired in part by the sekki, short descriptive seasons used by farmers in ancient china and japan-- you can see a list of sekki (along with twitter and ical notifications) at zurowski's a guide to understanding small seasons.
wintering by katherine may
book by british writer katherine may on literal and metaphorical winters. may writes about the necessity to periodically experience darkness throughout life, meditating on the winter solstice, cold water swimming, the northern lights, hibernation and fairy tales to illustrate how wintering can catalyze self-renewal.
"ouroboricisms" by alice lesperance
medium essay about trauma that uses the ouroboros as a metaphor for the circular reconstruction of memory. lesperance draws from mystics and writers julian of norwich, anne carson, margery kempe, and flannery o'connor and their engagement with the repetition and recreation of wounds.
"on reset" by brian blanchfield
a meditation by poet brian blanchfield from his essay collection proxies about discovering a series of audition tapes in which the same scene is repeatedly recast with different actresses. he draws a comparison between the audition scene and poetic repetition, not only in the structure of poems but in our engagement with poetry itself.
"the narrative is going to kill you!" "the narrative loves you!" have you considered; the narrative loves you so much that it's killing you. you want to escape but it smothers you and swallows you whole.
a discarded paper cup gets crushed under a car's tire on the freeway and a few moments later an identical paper cup materializes on the bank of a beautiful elf river in a parallel fantasy world
the unkindness of ravens pattern :V
[repeating pattern of black ravens flying chaotically over a red background]
âMusic I heard with you was more than music. And bread I broke with you was more than bread.â
â Conrad Aiken (b. 5 August 1889)

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âOne day I called up my mother (I think I was 22) and was crying, âDaddy didnât love me!â Usually my mother would say, âOf course he loved you: he did this and thatâŚâ But this time, after an hour of tortuous conversation, she suddenly said, âYouâre rightâhe didnât love you, and I never understood why.â And that moment of her acknowledging the truth of what I had experienced was such a moment of relief! The moment she affirmed the reality of what had taken place, I was released, because somehow what we all know in our wounded childhood experiencesâŚis: itâs the act of living the fiction that produces the torturous angst and the anguish ⌠the feeling that youâre mind-fucked. I was watching Hitchcockâs Spellbound again and I love it when that moment of truthâbreaking through denial and reentering oneâs realityâbecomes the hopeful moment, the promise: when we can know ourselves and not live this life running in flight from reality.â
-bell hooks in âMoving Into And Beyond Feminismâ from Outlaw Culture: Resisting RepresentationÂ
been reading a lot of conversations about space since the james webb images were released particularly wrt to light speed and the fact that we are technically "looking into the past" because the light that actually reaches us is millions or billions of years old, and so we only see these places as they were when the light left, not as they are right now. cool & fine & very interesting
but i just saw someone (shoutout sylverthewordsmyth in the tiktok comment section) reframe this as "the future can see us" and despite this being a natural and logical extrapolation from us seeing the past, it has shaken me to my core. if there's anybody to look at us from far away, millions and billions of years in the future, they would look at us and see... us. they would look and see the same planet we live on right now, with the same continents and oceans. and it will be already long gone but to them it will be as alive as it is to us right now, the same way we see still see stars that have already gone out. i have to lay down