I Cant Get Over This Lmaooo

I can’t get over this lmaooo

Your daily reminder you can download a FREE copy of Stone Butch Blues off of Leslie Feinberg’s website

While “rules are made to be broken” is sexy and punk and rebellious and hot girl shit and all that, relationship rules/boundaries are not meant to be broken and if you do that’s bad, unsexy, not punk-

Thoughts on Anthy’s pranks and manipulations?

once again way too many thoughts to say at once because her "pranks and manipulations" are literally the crux of the entire show but lemme talk abt it anyway ehhe

i think you only really start getting the point of everything anthy does on the second rewatch, and you start realizing just how much of the show sits entirely on anthys shoulders because shes the one controlling everything (per akio's request)

anyway i think all of her manipulations are really really clever, and one that most people probably havent noticed or don't know about is the very first one, this is also my fav piece of trivia about the show and i for one think its 100% correct sorry everyone else im right (jk but i think it makes the most sense ever) and thats that anthy is the one to put up wakaba's love letter in the first episode. now the way that i think i know this is because of the yellow border around the scene (i cant be bothered to grab a screencap) and youll also see that same border when at the end of episode 12 when anthy and utena meet again they have a small flashback to all of their moments together, and that yellow border is also present. plus anthy would definitely know who utena is and who she's close to (wakaba) so she would know that putting up the letter would make utena duel.

i think that to really understand anthy's manipulations of the cycle of revolution youd have to watch the show atleast twice... like man its so easy to miss everything but once you start looking ahrghhh man do u find it!!!

i also really like her as mamiya because again she's the one manipulating them through mikage but also kind of through herself!! like in shioris episode of course she goes to find the locket again, or in kanaes episode where she refuses to call her sister or to wear her scarf and stuff... shes really good at what she does probably because of we don't know how long of doing this over and over again trying to find the sword strong enough to open the rose gate...

i think she tries to give herself a bit of power by manipulating others, its almost the one thing she has control over i guess, she knows how to get other people to duel and she's good at it? something like that. i think its a way to assert herself in a world that pushes her down so often, even if it results in her getting slapped and pushed again and again..

anyway i forgot what i was gonna type but scuba diving anthy is very funny to me (to retrive the locket) oh also thank u for asking i love getting asks even tho i take like so long to reply to them lol

I was looking at this scene to make a different post about it, and I just want to draw attention to how good the storyboarding is here. Look at the way adult Grace turns and looks up as her mother walks by. The directing implies that Grace's mom is absolutely towering over her, without having the two of them really get close enough, or providing any visual clues in the foreground or midground, to let us make a proper comparison. It creates this dreamlike impression that adult Grace is child-sized compared to her mom, without distracting the viewer from the emotional impact of the scene by giving us a shot that confirms Grace's mom is like Lady Dimitrescu levels of absurdly tall in this flashback.

Actually, seriously - even compared to child Grace, her mom still looks kinda Lady Di scale. The way little Grace is proportioned here, her size compared to the props, and the age of her voice, all make me think she's old enough and big enough that even an adult woman would have to be really tall to loom over her like that. But it's clear in a bunch of other shots, especially the mall cop office scene towards the end, that Grace's mother isn't particularly tall.

Older Grace isn't just small here because she's reliving a memory from her childhood. She's small because this memory makes her feel that she is very small and her mother is very big. The visual motif of size as a metaphor for a character's dominance, power, superiority, or prominence is important to Grace's character arc, although I think it's not quite as salient to her story as it is to Simon's.

“If lesbians working in mainstream art venues are more visible in their art in the 1990s than they were in the 1970s – and there are some indications that this is so – they don’t seem to be any more comfortable as a result. Laura Aguilar’s series of black-and-white works such as In Sandy’s Room (1991) which presents the artist nude, stretched out on a chair in a sparse interior. An open casement window looks out onto a yard, but Aguilar is not distracted by the sun or the natural beauty: she’s nodding out to the dull hum of the fan. Although one museum curator tried to convince me that this is an image of blissful self-contentment, my experience of lesbian existence doesn’t allow me to accept such an interpretation. This is an image of diminished expectations.Even as some post-seventies lesbian artists – including Judie Bamber, Cecilia Dougherty, Cheryl Dunye, Nicole Eisenman, Deborah Kass, Zoe Leonard, Siobhan Liddell, Catherine Opie, Nicola Tyson, and Millie Wilson – appear to be moving toward mainstream recognition, it is generally at the expense of any serious institutional, curatorial, or critical consideration of what their work might have to say about the experience of being lesbian in the United States today. They could as easily be Latvian. Few of the artists, and even fewer of the curators and critics who select and interpret the art, have any awareness of the recent history of either lesbian or feminist art production. Most reviewers, even the few lesbian writers who publish in the commercial art press, adopt one of two positions when discussing the work of ‘out’ lesbian artists: either they flap their arms to call attention to the white-elephantness of the 'lesbian’ without being willing or able to explain what this has to do with either art or life, or they make no reference to lesbianism at all. Generally museums follow the latter approach.[23]”

—

Laura Cottingham, Seeing Through the Seventies (Psychology Press, 2000), 152-153.

23. While the heterosexual liaisons of well-known women artists such as Frida Kahlo and Georgia O’Keefe are popularly known and frequently referred to in scholarly discussions of their art, the intimate relationships both formed with women are often omitted from or deliberately misrepresented in the same accounts. Similarly, a pointed silence surrounds the private life of the minimalist painter Agnes Martin because she is a lesbian. For a discussion of another kind of lesbian erasure by museums, see my analysis of the Bad Girls exhibitions. Another institutional silencing of lesbians was actualized in the exhibition Division of Labor: “Women’s Work” in Contemporary Art, Bronx Museum of the Arts, New York 17 February - 11 June 1995; Museum of Contemporary Art, Los Angeles, 24 September 1995 - 7 January 1996. It must be noted that lesbians participated in all these exhibitions as advisory curators, catalog essayists, and artists. Self-censorship is expected of lesbians, and most of us oblige.