okay, story time: i’m a resident actor a children’s theatre company, and we just did peter pan. i was cast as peter because i’m the only one who looks young enough to play the part; but aside from looking young, i look nothing like peter pan. he’s this little white boy with reddish brown hair and i’m an arab/hispanic queer with black hair and freckles.
our company has a really devoted following, and these kids are reeeally young. after every show, we do autographs as the characters and have to keep up the act, because to a lot of these really young kids, we are who we pretend to be on stage. that terrified me. i’ve done autograph sessions in-character before, but never as such a well-loved character. who, again, is white. i was worried about what children might say.
over the course of the production, we must have performed for close to 500 kids, between the shows we did for families and the shows we did for school field trips.
and i distinctly remember one little white girl who came up to me with a DVD copy of disney’s peter pan, and she had this adorable tinkerbell dress on, and she just stared at me wide-eyed and after a while she said “i have all your movies!!”
first of all, if you don’t think that’s the cutest thing ever, please leave.
and when i asked her what she wanted me to sign, she handed me her DVD and said “by your face.” and she points right at this little white redheaded peter pan with pointy ears who is clearly not me, as if she can’t tell the difference… or she can, and she doesn’t care. similar things happened with different children, but it never lost its charm for me. on the contrary, it really warmed my heart.
by that same token there were many children of color who were affected by seeing a brown peter pan. a lot of them (usually older children) and/or their parents ask me how i got into acting, and if i had any advice for how to get into it. it meant a lot to me that there’s this whole generation of children of color who are going to pursue the arts, because even though i live in a very diverse area, our theatre landscape is still very whitewashed.
anyway, what i’m trying to say isn’t just that representation matters, which it does. what i’m also trying to say is that one less white face in the crowd isn’t going to hurt anyone. i feel like i’ve heard time and again that white people can only identify with white characters, and the whole point of my story is that that’s obviously not true. that kind of behavior, where people only empathize with characters who look like them, has to be taught. and that kind of behavior is racism.
bolding is mine, because that last bit really knocked it out of the park for me
"I have all your movies" Oh my GOD. *dead *
"I’ve never felt so confused in my whole life."
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi 3 years long exposures: read “The passing of time“, (on Socks).
IGN gave a higher rating to Hatoful Boyfriend than it did for Destiny or The Sims 4, what a time to be alive.
"The idea is to bring a kind of experience never tried before from the point of view of blacksmith in a fantasy world who tries no to kill the biggest dragon or to rescue the princess from the highest tower of the fallen kingdom, instead, his aim is to fullfill the request of all the men who actually will try those ventures." - Author’s description
I remember everything,” says a disparate female voice, as if in agony. “You remember nothing,” a male voice replies to her. He says it again. “Nothing.” The opening minutes of Alain Resnais’ 1959 debut feature Hiroshima, Mon Amour are arguably the most interesting, as they explore the irrevocable damage caused by the atom bomb dropped on Hiroshima during World War II. Bobbing in and out of hospital corridors, museum exhibits, and looking at survivors on the city streets, the themes of this opening ripple throughout the film. It is the film at its most potent and, in a way, most prescient. What is the difference between sympathy and empathy? Where is it useful and where is it dangerous? What is the difference between memory and experience, and memory and third hand witness? Nearly 60 years after Resnais’ film, we are living in a fairly interesting age where not only where mass media can cover international and domestic tragedies with immediate turnaround, even on the front lines, as it were. On Twitter, you could follow the events of Ferguson, MO or the events in Middle East, all in front of you in an instant. But the internet has also allowed this illusion of the eye witness account to proliferate exponentially. This has made sympathy and empathy, and the experience of tragedy, blurred and muddled, also making the questioning of those emotions more relevant.
You fools, this man is plotting our doom! We die at dawn! He is Caligari!
Das Cabinet des Dr. Caligari, 1920 | Robert Wiene.
For our inaugural entry of the Games Club, we’ll be playing Swery65’s cult hit, Deadly Premonition!
We’ll be back in two weeks to share our first impressions. A full transcript is available on the blog.
Karidja Touré and ‘Girlhood’ director Céline Sciamma, photographed by Cecile Burban.