"When I began writing The Bluest Eye, I was interested in something else. Not resistance to the contempt of others, ways to deflect it, but the far more tragic and disabling consequences of accepting rejection as legitimate, as selfevident.
I knew that some victims of powerful self-loathing turn out to be dangerous, violent, reproducing the enemy who has humiliated them over and over. Others surrender their identity; melt into a structure that delivers the strong persona they lack. Most others, however, grow beyond it.
But there are some who collapse, silently, anonymously, with no voice to express or acknowledge it. They are invisible. The death of self-esteem can occur quickly, easily in children, before their ego has “legs,” so to speak.
Couple the vulnerability of youth with indifferent parents, dismissive adults, and a world, which, in its language, laws, and images, re-enforces despair, and the journey to destruction is sealed." via
“The Reformatory,” by Tananarive Due “The Bear and the Nightingale,” by Katherine Arden “Fortune Smiles,” by Adam Johnson “World War Z,” by Max Brooks “Dare Me,” by Megan Abbott “Redshirts,” by John Scalzi “Knockemstiff,” by Donald Ray Pollock “The Lesser Dead,” by Christopher Buehlman “Come Closer,” by Sara Gran “FantasticLand,” by Mike Bockoven
Reformulating Black Cinematic Labor
“The Bear and the Nightingale,” by Katherine Arden
“Fortune Smiles,” by Adam Johnson
“World War Z,” by Max Brooks
“Dare Me,” by Megan Abbott
“Redshirts,” by John Scalzi
“Knockemstiff,” by Donald Ray Pollock
“The Lesser Dead,” by Christopher Buehlman
“Come Closer,” by Sara Gran
“FantasticLand,” by Mike Bockoven
好奇這本的切入點。
Late Night with the Devil普通。
提語言然後這麼輕巧地跳過語言的社會意義也是很厲害。西語常常沒翻譯要怎麼說?或迪士尼Andor裡整段Andor童年關鍵記憶沒字幕,用「不用字幕觀眾就看得懂他們要表達什麼」是可以的喔?
(但很愛The Sympathizer那段語言大亂鬥。影集裡比這篇文選的片段更複雜也更好笑)
......呃,這算爛尾吧?感覺是一小時半就可以演完的劇情結果有八小時長。
(後來和朋友討論到這部用情感來當辨識人類和怪物的分界……難道是種趨勢?秘密森林也走這種路線)
The Routledge Introduction to the American Ghost Sto...
結果看大熊餐廳都在看餐廳動線和員工動向和事後清潔的部分XD