"brown skin masculine frame head's a target / acting real feminine make 'em vomit / this nigga can't take it"
'Hunted', taken from the debut album, 'Power', by Lotic
Out July 13th.
Director: Matt Lambert Produced by: Prettybird Producer: Hannah Bellil Production Assistant: Moritz Tibes Cinematographer: John Perez Stylist: Ameena Kara Callender Stylist Assistant: Felix Choong Make-up: Pablo Rodriguez Hair: James Oxley Movement Direction: MJ Harper Production Design: Marie Patzer Editor: Judy Landkammer Colorist: Greg Reese @ The Mill LA Actor: Felix Mayr
Fashion: Headpiece by House of Malakai Dress by Simone Rocha Jewelry by Slim Barrett Cuffs by EKIRA Corset by House of Harlot
So gradual in those summers was the going of the age it seemed that the long days setting out when the stars faded over the mountains were not leaving us even as the birds woke in full song and the dew glittered in the webs it appeared then that the clear morning opening into the sky was something of ours to have and keep and that the brightness we could not touch and the air we could not hold had come to be there all the time for us and would never be gone and that the axle we did not hear was not turning when the ancient car coughed in the roofer's barn and rolled out echoing first thing into the lane and the only tractor in the village rumbled and went into its rusty mutterings before heading out of its lean-to into the cow pats and the shadow of the lime tree we did not see that the swallows flashing and the sparks of their cries were fast in the spokes of the hollow wheel that was turning and turning us taking us all away as one with the tires of the baker's van where the wheels of bread were stacked like days in calendars coming and going all at once we did not hear the rim of the hour in whatever we were saying or touching all day we thought it was there and would stay it was only as the afternoon lengthened on its dial and the shadows reached out farther and farther from everything that we began to listen for what might be escaping us and we heard high voices ringing the village at sundown calling their animals home and then the bats after dark and the silence on its road
Welcome to The Discarded Image. A new online video series that analyses and deconstructs well known pieces of cinema. In this episode I look at the beach scene from Steven Spielberg's pop classic JAWS.
"Spielberg asserted his own role and deftly organized the elements of a roller coaster without sacrificing inner meanings. The suspense of that picture came from meticulous technique and good humour about its own surgical cutting. You only have to submit to the travesty of JAWS 2 to realize how much more engagingly Spielberg saw the ocean, the perils, and the sinister beauty of the shark, and the vitality of its human opponents." David Thompson in The New Biographical Dictionary of Film
"Spielberg uses his gift in a very free-and-easy, American way - for humour, and for a physical response to action. He could be that rarity among directors, a born entertainer - perhaps a new generation's Howard Hawks." Pauline Kael in her review of The Sugarland Express
Sabotage (Hitchcock, 1936) Citizen Kane (Welles, 1941) Rear Window (Hitchcock, 1954) Vertigo (Hitchcock, 1958) Pierrot Le Fou (Godard, 1956) Weekend (Godard, 1967) Jaws (Spielberg, 1975) Carrie (De Palma, 1976) Close Encounters of the Third Kind (Spielberg, 1977) Raiders of the Lost Ark (Spielberg, 1981) E.T. the Extra-Terrestrial (Spielberg , 1982) Indiana Jones and the Temple of Doom (Spielberg , 1984) Jurassic Park (Spielberg , 1993) Saving Private Ryan, (Spielberg , 1998) A.I. Artificial Intelligence (Spielberg , 2001) Catch Me if you Can (Spielberg , 2002) War of the Worlds (Spielberg. 2005) Munich (Spielberg , 2005) The Adventures of Tintin: The Secret of the Unicorn (Spielberg, 2011) Moonrise Kingdom (Anderson, 2012)
Rainer Torrado is a photographer & art director who is living and working between Paris, Hong Kong, and Madrid. He regularly contributes to international fashion magazines, but this time he shares his stunning project XXY generation with us.
The State Academic Symphony Orchestra "Evgeny Svetlanov" (Государственный Академический Симфонический Оркестр России имени Е. Ф. Светланова), directed by Vladimir Yurovsky and with Vadim Repin on violin, performs Sofia Gubaidulina's "Offertorium" at Moscow's Tchaikovsky Concert Hall on May 30, 2016