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Female Charm

♥  Silent film actresses ↓ [Chopin Nocturne Opus 9 No. 2 in E Flat Major]

 – Clara Bow,  – Louise Brooks,  – Bebe Daniels,  – Nita Naldi,  – Norma Talmadge,

 – Constance Talmadge,  – Lillian Gish,  – Dorothy Gish,  – Pola Negri,  – Natacha Rambova,

 – Vilma Banky,  – Lila Lee,  – Marion Davies,  – Claire Windsor,  – Gloria Swanson,  

Theda Bara,    – Raquel Torres,    – Alice Terry,   – Dolores Del Rio,

– Mae Murray,  – Agnes Ayres,  – Clara Kimball Young,   – Mabel Normand,

– Anna May Wong,  – Norma Shearer,   – Carmel Myers,   – Zasu Pitts,  – Bessie Love

¤  Women In Film ↓ [80 years by ]
Mary Pickford,    Lillian Gish,    Gloria Swanson,    Marlene Dietrich,    Norma Shearer,
Ruth Chatterton,    Jean Harlow,    Katharine Hepburn,    Carole Lombard,    Bette Davis,
Greta Garbo,    Barbara Stanwyck,    Vivien Leigh,    Greer Garson,    Hedy Lamarr,
Rita Hayworth,    Gene Tierney,    Olivia de Havilland,    Ingrid Bergman,
Joan Crawford,    Ginger Rogers,     Loretta Young,    Deborah Kerr,
Judy Garland,    Anne Baxter,    Lauren Bacall,    Susan Hayward,
Ava Gardner,    Marilyn Monroe,    Grace Kelly,    Lana Turner,
Elizabeth Taylor,    Kim Novak,    Audrey Hepburn,   Dorothy Dandridge,  
Shirley MacLaine,    Natalie Wood,    Rita Moreno,    Janet Leigh,  
Brigitte Bardot,    Sophia Loren,    Ann Margret,    Julie Andrews,
Raquel Welch,    Tuesday Weld,   Jane Fonda,    Julie Christie,
Faye Dunaway,    Catherine Deneuve,   Jacqueline Bisset,
Candice Bergen,    Isabella Rossellini,   Diane Keaton,    Goldie Hawn,   
Meryl Streep,   Susan Sarandon,    Jessica Lange,    Michelle Pfeiffer,   
Sigourney Weaver,   Kathleen Turner,    Holly Hunter,    Jodie Foster,
Angela Bassett,    Demi Moore,    Sharon Stone,    Meg Ryan,    Julia Roberts,  
Salma Hayek,   Sandra Bullock,    Julianne Moore,    Diane Lane,    Nicole Kidman,  
Catherine Zeta-Jones,   Angelina Jolie,   Charlize Theron,    Reese Witherspoon,    Halle Berry 

 – Bach‘s Prelude from Suite for Solo Cello No. 1 in G Major, BWV 1007 ↑ performed by Yo-Yo Ma

  ROXETTE: ↓  «The Look»

1-2-3-4  –  Walking like a man,  hitting like a hammer,  she’s a juvenile scam.
Never was a quitter,  tasty like a raindrop,  she’s got the look.
Heavenly bound  cause heaven’s got a number  when she’s spinning me around, 
Kissing is a colour,  her loving is a wild dog,  she’s got the look.
She’s got the look  …  She’s got the look.
 
What in the world can make a brown-eyed girl turn blue.
When everything I’ll ever do I’ll do for you
and I go: la la la la la  –  she’s got the look.
 
Fire in the ice,  naked to the T-bone  is a lover’s disguise.
Banging on the head drum,  shaking like a mad bull,  
she’s got the look.
Swaying to the band, moving like a hammer,  
she’s a miracle man.
Loving is the ocean,  Kissing is the wet sand,  She’s got the look …  
 
What in the world can make a brown-eyed girl turn blue.
When everything I’ll ever do I’ll do for you
and I go: la la la la la  –  she’s got the look.
 
Walking like a man,  hitting like a hammer,  she’s a juvenile scam.
Never was a quitter,  tasty like a raindrop,  she’s got the look.
. . .  And she goes:   na na na na na na na na.
∇   The Knack   ⇓  ‘My Sharona’ ←

⇓   500 Years of Female Portraits in Western Art

Snakefinger

Bach‘s Sarabande from ↑ Suite for Solo Cello No. 1 in G Major BWV 1007
performed by Yo-Yo Ma
 ↔ The Model  ↓  [by Snakefinger]

(ft. famous models of art history)

She’s a model and she’s looking good / I’d like to take her home that’s understood
She plays hard to get, she smiles from time to time / It only takes a camera to change her mind

She’s going out tonight but drinking just champagne / And she has been checking nearly all the men
She’s playing her game and you can hear them say / She is looking good, for beauty we will pay

She’s posing for consumer products now and then / For every camera she gives the best she can
I saw her on the cover of a magazine / Now she’s a big success, I want to meet her again

• Leonardo Da Vince- Mona Lisa (1503-05),
• Sandro Botticelli- The Birth of Venus (circa 1480),
• Frans Hals- Malle Babbe (circa 1650),
• Thomas Gainsborough- Robert Anderson and His Wife (1748-50),
• James Whistler- Arrangement in Black and Gray: The Artist’s Mother (1871),
• Edouard Manet- A Bar at the Foiles-Bergeres (1881-82), Dejeuner Sur l’Herbe (1863),
• Jean-Francoise Millet- The Gleaners (1857),
• Georges Seurat- A Sunday on the Grande-Jatte-1884 (!884-86),
• Hilaire-Germain-Edgar Degas- Little Dancer Fourteen Years Old (1881),
• Edvard Munch- The Dance of Life (1899-1900),
• Pablo Picasso- Les Damoiselles d’Avignon (1906-07),
• Raphael- The Three Graces (1500),
• Roy Lichtenstein- Girl at Piano (1963),
• Mel Ramos- Chiquita Banana (1964),
• Edward Hopper- Hotel Room (1931),
• Raphael Soyer- The Brown Sweater (1952),
• Frank Gallo- Swimmer (1964),
• Wayne Thiebald- Girl with Ice Cream Cone (1963),
• Andrew Wyeth- Christina’s World (1948).
c_schiffer
♣  David Sylvian, Dominic Miller & Peter Kater  ↓  ‘Ride’

Messages ran all over town
Words without sound condemned me
Left me for dead all over again
It wasn’t the first time but this time things will never be the same

Ride, ride the very thought into the ground
In the church of lost and found the angels cry
Ride, ride until the darkness closes in
Until the ravaged soul begins to reflect the open skies, ride

The chapel was burned, razed to the ground, from the darkest of clouds
Small birds tumbled like rain, time and again
You may go charging at windmills in these days
Absurdities never change

Ride, ride the very thought into the ground . . .

In the thick of the woods, the word is taboo
In the darkest of continents, light can deceive you

Ride, ride the very thought into the ground . . .

Ride, saddle up your thoughts and run to ground
In this world of lost and found the eagles fly, ride

KateM
∇  Chet Baker: ‘Almost Blue’  ⇓  Paintings by Elaine Murphy

Almost blue
Almost doing things we used to do
There’s a girl here and she’s almost you
Almost
All the things that you promised with your eyes
I see in hers, too
Now your eyes are red from crying

Almost blue
Flirting with this disaster became me
It named me as the fool who only aimed to be
Almost blue
Almost touching it will almost do
There is part of me that’s always true
Always
All the things that you promised with your eyes
I see in hers, too
Now your eyes are red from crying
Almost you – Almost me – Almost blue

 
◊  Adrian Belew‘s  ‘Ideal Woman’  ↓  [Twang Bar King’_1983]
I_woman
She’s demure… friendly… loving and good-looking
good-looking and wealthy
she is tall,  pretty,  thin,  blonde
a loving person,  great personality,  fun to be with
independent,  gorgeous,  rich,  powerful
liberal yet she’s very romantic
of course, she’d have to have the perfect figure
Everywhere she goes she’s beautiful
everyone I know says she’s beautiful
and I dream about her even in my sleep
everyone I meet says she’s beautiful
Blonde hair, blue eyes, about 5’6″
well, blonde about 5’8″
blonde about 5’9″
36″ 24″ 36″
Everywhere she goes she’s beautiful
everyone I know says she’s beautiful
and I dream about her even in my sleep
even with her clothes on she’s beautiful
Not necessarily beautiful, but…
Lovely…sexy…she’s contagious
talented…creative…controllable
very fashionable…good religious woman
she’s extremely mobile
silent…electrostatic…enigmatic
my wife…my mother
pretty with hairy legs
Everywhere she goes she’s beautiful . . .

seduced

I want to be seduced,  want a woman to take me out to dinner for two
Like to see her eyes gettin’ moody,  flirtin’ with the thought of what flirtin’ ought to do
Like to be real cool,  let her think about gettin’ little me in bed
Have a chat about Magna Charta, Puerto Vallarta, or somethin’ Gandhi said

I might demur politely,  falter slightly,  if she tries to fondle my knee,
But I’m relatively certain I’d compromise if I know me

I want to be seduced, want a woman to talk to me suggestively
I want to hear her say she’ll be with me tomorrow morning, drinking hot jasmine tea

I want her to make me laugh, make a point of touching me when she talks
Leaving all the jealous men in the joint to mumble in their beer and gawk

I know it only happens when I’m napping, nodding in my reverie
That I ever find a woman who wouldn’t mind seducing me . . .

Starting from the moment that we’d been introduced
That I ever find a woman who wouldn’t mind seducing me

Θ  THE CROOKERS ↓ remix

Helmut_N

¤ «Cool World» ↑ an American live-action/animated film directed by Ralph Bakshi in  1992: the story of a cartoonist (Gabriel Byrne) who finds himself in the animated world he created, and is seduced by one of his characters, a comic strip vamp (Kim Basinger) who wants to be real…

¤  Helmut Newton ← 

«My job as a portrait photographer is to seduce, amuse and entertain.»  

[1920-2004] 

¤  THE HOURS:  •→ Michael Cunningham’s book    •→ Stephen Daldry’s film
. . .  Music From The Movie «The Hours»  ↓  by Philip Glass  

•→’The Poet Acts’ ⇐    /    •→Morning Passages ⇐    /    •→Something She has to do ⇐

⇓  The Kiss

•→  Why does someone have to die?

The Hours  ⇓

¤  Henry Moore  ↓  [1898-1986]

 

¤   The Book of Repulsive Women :DjunaB

[poems & illustrations by Djuna Barnes]⇒

• The Flowering Corpse  [1923]
 
So still she lies in this closed place apart,
Her feet grown fragile for the ghostly tryst;
Her pulse no longer striking in her wrist,
Nor does its echo wander through her heart.
 
Over the body and the quiet head
Like stately ferns above an austere tomb,
Soft hairs blow; and beneath her armpits bloom
The drowsy passion flowers of the dead.
¤  Maya Deren  [1917-1961]

MayaD

 . . . recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity   –  [sensesofcinema.com]

◊→  At Land  ↓  (1944)

A 15-minute silent experimental film written, directed by, and starring Maya Deren. It has a dream-like narrative in which a woman, played by Deren, is washed up on a beach and goes on a strange journey encountering other people and other versions of herself. Deren once said that the film is about the struggle to maintain one’s personal identity. Music recently added by Nikos Kokolakis.

•  Synopsis

At the beginning of the film, a woman is lying on a beach as if she has been washed up by the ocean. She climbs a tree with some difficulty, but when she finally reaches the top, she finds herself at the end of a long dining room table during a bourgeois dinner party. All the guests ignore her as she drags herself on top of the table and pulls herself across it, trying to reach a man at the opposite end who looks deeply concentrated on a chess game. When she finally gets to the man, he stands up and leaves the table; she looks disappointed and hopeless.

The chess pieces begin to move by themselves, and one of the pawns falls on the floor. It floats down a waterfall and down a river. The woman chases it, climbing down the hill she had already passed. She then finds herself walking down a forest path; she begins talking and walking with a man, who in total is replaced four times by four different men (the first one is the American surrealist poet, Philip Lamantia at age 17; the second man is Gregory Bateson; the third is sound artist and composer John Cage; and the last one Deren’s real-life husband, Alexander Hammid).

She follows the man into a house where all the furniture is covered with white blankets. She opens many doors, and in one room finds a bed on which a man is lying covered in a white blanket as if laid out in death. They stare at each other for some moments; then a cat leaps from her arms, and she turns her back and leaves. After walking through several doors, she finds herself on a hilltop, and climbs down to a dune field.

Walking down the beach, she picks up stones, finding it hard to carry all of them at once. Then she finds two of the women who were at the dinner party in the beginning of the film playing chess on the beach. They are gossiping, having a good time while playing. The woman gets closer and watches them. She caresses their heads gently, making them lose their attention on the game. Then she takes a pawn from the game and runs across the dunes with her arms raised. While she runs, we see other versions of herself, at earlier stages in her journey; her other selves all glance at her. The film’s final image is of the woman running down the beach, leaving her footprints behind her.

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