Akubi Zone

fuckyeahdogs:

Got food?

fuckyeahdogs:

laurencephilomene:daieny:jobie:dannybrito:

I 100% approve everything in this photo.

hushaby:

elvira:placidiappunti:subdub:cyborggerrmaine:Lions underwater.. (big fun) - sex (not sex)

 This is exactly how I feel about Tumblr’s inability to autosave…

Time to sleep.  Sweet dreams!

eversonpoe:

Lost Highway

hey, cargohoo, a while ago, before we started following each other, i went crazy one night and posted about 20 pictures from lost highway.

 I Love Lost Highway (completely underrated DL film) and wouldn’t mind various media clips.

lattata:

Faster than the speed of light!

 I hope to be doing this with my boys (aka Pomeranians) at the beach over the holiday.

Yes, I know many of my followers aren’t from the U.S., but Happy Thanksgiving anyway!  I do like the concept of being thankful, but I don’t much like the food one is supposed to eat.

Hey Guyz,

People don’t Tumblr for several paragraphs of text ;).

uncertaintimes:

pieto:

Walter Evans, in his essay “Monster Movies: A Sexual Theory,” written in 1984 considers cinematic monsters and terrors as projections of adolescent fears.  For Evans, it is the overpowering and enigmatic psychological and physical changes that come with puberty that the monsters represent and also that drives the young audience to seek out these films.  As Evans states:

“The key to monster movies and the adolescents who understandably dote on them is the theme of horrible and mysterious psychological and physical change; the most important of these is the monstrous transformation which is directly associated with secondary sexual characteristics and with the onset of aggressive erotic behavior.”  (p. 54)

For Evans the body and mind of the adolescent no longer seems to be his or her own with the changes brought on by adolescence.  The monsters and myths of films Dracula to The Texas Chainsaw Massacre help teenagers to cope with these changes through fantasy and narrative.  So the story of King Kong, for Evans, is the story of a being unwillingly pulled from innocence into the new world of sexual desire.  Because King Kong (the representation of the teenager’s newly acquired sexual impulses) could not adapt his sexual and aggressive behavior to the New World, he dies.

Also essential to Evans’ reading is the narrative role of marriage in these films, in that the monster often comes between a heterosexual couple who plans on being married.  This plot element can be found in classic horror films like The Mummy, Dracula, and Dr. Jekyll and Mr. Hyde.  It is only after the monster is destroyed, i.e. the sexual and aggressive impulses of adolescence are controlled and brought under the rules and norms of social institutions, that the couple can safely and happily marry.

We can see all sorts of problems with Evan’s essentializing and normalizing of an ideological dominant heterosexuality in the narratives of horror films.  We could ask if the horror film doesn’t perform an opposite task with young people by playing out all sorts of non-normative sexual fantasies and emotions.

Academics often seem to miss the most obvious points. Adolescents boys take adolescent girls to horror movies because they think it increases the chances for some action. During the scary moments, if the girl initiates physical contact, this pushes through a significant bubble in the relationship and engenders further physical contact. (C’mon people, this is one of the oldest tricks in the book!) Ask any guy who had a dating life in high school, he’ll tell you the same. Ask someone who didn’t, you’ll often get a response like the one above. (Part of my job involves scaring people and have it be known that if I give them a good one, the guys always thank me.)

On a far less prosaic level, I’ve always thought that people like to be scared because we are hard-wired for the fear response. As life becomes more safe and routine, we need an outlet for this impulse. We like to be scared because it’s a itch that life no longer scratches for many and it’s a rush that horror movies provide most effectively. (I hear it all the time at work: “I love being scared, but I don’t know why.”)

I find the above cited “adolescent sexuality” hypothesis to be highly speculative and unconvincing as a primary factor. And although my points don’t answer all the questions, I maintain that the main reason kids go to these movies is to initiate physical contact without appearing to be wantonly sexual. It has become part of the mating dance for many.

quandojoe:

(via americanartfag)

 I’ve never experienced a true Turkish Bath…somehow I always miss Turkey in my travels.

This Brazilian plastic injectable “this, that and the other thing” leaves me cold. 

Although my mom still seems to love her, I really started losing respect for Pelosi when she began looking like the character in Brazil (the vintage film).

I wish women (particularly those of the sort who raised me and instilled their feminist crap) would get their shit together and stop sucking up to a big pile of anorexic Botox Bullshit.

siddman:

(via fuckyeahbraziliangirls)

liquidnight:

Arthur Tress - Broken Statuette, Cold Spring, New York, 1982

 

 

 

From Arthur Tress - Fantastic Voyage, Photographs 1956-2000

suicideblonde:

Hedy Lamarr’s infamous nude scene from the 1933 Czech film Ecstasy

defixiones:

Zdzisław Beksiński.
deathgame