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de facto ray

Die Großen und die Verdammten, von Gio

4 days ago - 7 notes

frameweaver:

Lino Brocka. Drew this yesterday for the report we had about him today.

frameweaver:

Lino Brocka. Drew this yesterday for the report we had about him today.

4 days ago - 12 notes

1 week ago - 72,078 notes

Isang munting #throwback kay Leona Florentino.

Isang munting #throwback kay Leona Florentino.

1 week ago - 1 note

Pagdaramdam

Sa gitna lamang ng pagkabagot

pumapasok ang mga tunay na bugso ng lungkot

tila isang bubog

na huli na nang madampian.

Naitatanim sa bawat salita

sa mga awayan, bangayan,

sakitan o kutyaan

at tutubo sa isipan 

ng minsan mo nang sinaktan.

At paghiga sa kama o sahig

ang tag-init ay kumukupas

sa malalamig na alaala.

Magigising na lamang

na sa hangin ay sumisipa,

sa kawalan nagkukumpisal

at sarili’y inaalipusta.

Marahil tinik ang pagsisisi

sa mga rosas na sandali

ngunit ang lahat ay mapapawi bigla

sa muli nating pagkikita

sa muli nating pag-uusap

matapos na tayong pareho

ay makaranas ng malubhang pagdaramdam

At marahil doon din natin napagtanto

na sa kabila ng lahat,

walang maaaring bumunot sa matalim na salita

kundi ang siyang mismong nagtaga.

1 week ago - 0 notes

immox:

I will always reblog this whenever it appears in my dashboard.

1 week ago - 91,223 notes

1 week ago - 291 notes

1 week ago - 157,041 notes

Lino Brocka’s MAYNILA SA MGA KUKO NG LIWANAG and Rainer Werner Fassbinder’s FOX AND HIS FRIENDS (both melodrama films released in 1975) both express the social conditions of their countries (Philippines and West Germany) through tales of men struggling for the ones they love. Fox and Julio are both working class men who venture to social spaces alien to them, submitted to systems unfair to them, until they themselves become exploited and proven unwelcome, and entitled to gruesome demise. What these films reveal historically is the social situation of West Germany and the Philippines (particularly its capital city) at an era of vast capitalism and neo-colonialism. Fassbinder himself articulates through his melodramas the neo-colonial condition of Germany’s West-side when the US was all over the place, ready to fuel the collapse of the communist East Germany. Brocka, on the other hand, is an outspoken activist who protested against the Marcos administration, and who also became an important figure of culture and the arts in the 1970s-1980s, the so-called “Second Golden Age of Philippine Cinema”. Brocka effectively used the melodrama genre to convey his political messages, and his political use of film reached a zenith when he finished the controversial ORAPRONOBIS (1989) - a film that proved the government hasn’t changed despite the removal of Martial rule.Their films here are crucial portraits of struggle that transcends beyond nations, proving that in the unjust system of capitalism and imperialism, all are harshly exploited for the benefit of the privileged few. (Gio Potes, 2014)

Lino Brocka’s MAYNILA SA MGA KUKO NG LIWANAG and Rainer Werner Fassbinder’s FOX AND HIS FRIENDS (both melodrama films released in 1975) both express the social conditions of their countries (Philippines and West Germany) through tales of men struggling for the ones they love. 

Fox and Julio are both working class men who venture to social spaces alien to them, submitted to systems unfair to them, until they themselves become exploited and proven unwelcome, and entitled to gruesome demise. 

What these films reveal historically is the social situation of West Germany and the Philippines (particularly its capital city) at an era of vast capitalism and neo-colonialism. Fassbinder himself articulates through his melodramas the neo-colonial condition of Germany’s West-side when the US was all over the place, ready to fuel the collapse of the communist East Germany. Brocka, on the other hand, is an outspoken activist who protested against the Marcos administration, and who also became an important figure of culture and the arts in the 1970s-1980s, the so-called “Second Golden Age of Philippine Cinema”. Brocka effectively used the melodrama genre to convey his political messages, and his political use of film reached a zenith when he finished the controversial ORAPRONOBIS (1989) - a film that proved the government hasn’t changed despite the removal of Martial rule.

Their films here are crucial portraits of struggle that transcends beyond nations, proving that in the unjust system of capitalism and imperialism, all are harshly exploited for the benefit of the privileged few. (Gio Potes, 2014)

1 week ago - 1 note

At this point I have a request for our fans. If any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us — leave us the fuck alone! Don’t come to our shows and don’t buy our records. - Kurt Cobain (1992)

- (via fuckyeah1990s)

1 week ago - 1,349 notes

2 weeks ago - 142 notes

reassurance:

Nowhere. Gregg Araki. 1997. France/USA.

reassurance:

Nowhere. Gregg Araki. 1997. France/USA.

2 weeks ago - 182 notes

reassurance:

Faustrecht der Freiheit (Fox and His Friends). Rainer Werner Fassbinder. 1975. West Germany.

reassurance:

Faustrecht der Freiheit (Fox and His Friends). Rainer Werner Fassbinder. 1975. West Germany.

2 weeks ago - 202 notes

truefoes:

Scorpio Rising (dir. Kenneth Anger — 1963)

truefoes:

Scorpio Rising (dir. Kenneth Anger — 1963)

2 weeks ago - 521 notes

oldhollywood:

Different From the Others (1919, dir. Richard Oswald)
Different From the Others, initially released in Germany in 1919, may be the first feature-length film to address  homosexuality.The silent film stars Conrad Veidt as Paul Korner, a renowned concert pianist & closeted homosexual who falls in love with his student (Fritz Schultz). Their secret romance is discovered by a blackmailer who threatens to expose Korner as a gay man, which in 1920’s Germany meant public disgrace & possible incarceration. The story ends tragically with Korner being shunned by society & driven to suicide.
Different From the Others had a specific gay rights law reform agenda - director Richard  Oswald & co-screenwriter Magnus  Hirschfeld, a prominent sexologist/gay rights activist, made the film as a response to Germany’s Paragraph 175, a law which  made homosexual acts between men a crime (and which also had the effect of  making gays vulnerable to blackmail).
Different From the Others was banned shortly after its release and prints of the film were among the “decadent” artworks burned by  the Nazis after they came to power in the 1930s. As a result, only fragments of the film remain available for viewing.

oldhollywood:

Different From the Others (1919, dir. Richard Oswald)

Different From the Others, initially released in Germany in 1919, may be the first feature-length film to address homosexuality.The silent film stars Conrad Veidt as Paul Korner, a renowned concert pianist & closeted homosexual who falls in love with his student (Fritz Schultz). Their secret romance is discovered by a blackmailer who threatens to expose Korner as a gay man, which in 1920’s Germany meant public disgrace & possible incarceration. The story ends tragically with Korner being shunned by society & driven to suicide.

Different From the Others had a specific gay rights law reform agenda - director Richard Oswald & co-screenwriter Magnus Hirschfeld, a prominent sexologist/gay rights activist, made the film as a response to Germany’s Paragraph 175, a law which made homosexual acts between men a crime (and which also had the effect of making gays vulnerable to blackmail).

Different From the Others was banned shortly after its release and prints of the film were among the “decadent” artworks burned by the Nazis after they came to power in the 1930s. As a result, only fragments of the film remain available for viewing.

2 weeks ago - 1,335 notes

de facto ray

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