Kevin Flashcards
move the writing
outside the sphere of patriarchal linearity to alter the narrative structure
ashleigh
columbine 99
no clear reason
‘american nightmare’
you were never really here
2017
aspinall on food
they’re lost in daydreams, creating worlds out of piles of food”
post-feminism deems a good mother one who
“valorises self-sacrifice” Arnold
i used to
think i knew
so how’s school going?
it’s going
What bands am I listening to these days? right?
right around dessert you can ask me about drugs
attempting to adhere to
the socially constructed heteronormative lifestyle results in Eva’s ultimate status as an outcast
Ashleigh
calculated masculinity of
linear conversation as opposed to sensuous deminine affects of sonic symbolism
helen cixous
l’ecriture femenine through spiraliny compositions
cinematic mothers are often
demonized or deified, offering a narrow range of maternal representations that often serve misogynistic and conservative ends
smyth
Motherhood redeems
it transforms, it enriches, it elevates (Diane Negra)
Eva’s ambivalent expression
as she recalls memories is often supplemented with a formal excess of colour and sound
Smyth
david trotter
haptic narrative
camera?
Fuji 500T McGarvey the ability to shoot in the day/night using the same film stock.
contrast contributed to the look and themes of film
Lionel Schriver
epistolary in the form of letters- we lose out on Eva’s internal dialogue replaced with sonic and image lyricism- makes flexi narrative even more challenging
tilda swinton: “trying to
draw a portrait that is not so precisely drawn,”
Ramsay says its a
subjective piece
mothers last words to her son
you have always been your mother’s joy
most filmmaking is
a kind of visualization of how people are. The dark, the light
Ramsay
