Okay, I guess this is my main base of operations now. Look for my regular ~3 posts a year to be posted on Dreamwidth henceforth! Not gonna be either deleting or importing nomadicwriter since I never used it to archive fic and there's not much of note it would be a big deal to lose if LJ ever goes boom. But I'm not going to bother to crosspost there either.
doomfans is now relocating to doomfans. Entries have been imported and I'll be updating there from now on. There's also an existing sister comm at /doomfans on Imzy if you're over there.
nomads_gen_recs hasn't been updated forever and isn't likely to be, so I'm just going to leave it up on LJ rather than import it here. More recent recs, gen and otherwise, are in my bookmarks on AO3 anyway. (I am nomadicwriter there too, and still also Nomad1 on ff.net. But mostly, to be honest, I'm just silently lurking everywhere.)
I'm sure you all know that I am a Neil deGrasse Tyson fan. The man speaks truth. Here he is, again speaking the truth. Alas, we're prolly not the ones who need to be persuaded, although maybe somehow this message will get through to our current administration? *sigh*
There was a time, fondly remembered and not all that long ago, when Italy was the pinnacle of horror filmmaking. In the 1960’s Mario Bava helped define the giallo, a precursor to the American slasher film. These had a focus on gore and body count but were more stylish and psychological, for the most part, than their American counterparts. They had a major influence on U.S. horror cinema. Their influence can been seen in films like Halloween, Friday the 13thand Brian De Palma’s Dressed to Kill, in particular.
In the 1970’s and early ‘80’s, Italian masters of horror Bava, Argento, Deodato and Fulci were at their peak. Argento made films that were shockingly violent and beautiful at the same time. He made the carnage visually appealing, which is disturbing in its own way. His 1977 film Suspiria is widely known as his masterpiece. It centers on a young woman at a ballet school that is secretly home to a coven of witches. It’s a supernatural thriller that is gory and gorgeous at the same time. The feature contains some of the most impressive use of color in any horror film. His giallo thrillers Deep Red and Tenebre are also amazing and have been highly influential to filmmakers around the world in the decades since their release.
Lucio Fulci’s style could not be more different from that of Argento. His films are much more uncomfortable to look at. The cinematography is not so clean and fluid. Virtually nothing in any of his movies is clean. They contain many horrific images and scenes of gore so shocking that you may not actually believe what you are seeing. Even the least effective of his movies still drip with atmosphere. Zombie is often hailed as his gory masterpiece and while it is among the best in the Fulci cannon, it’s his loosely connected Gates of Hell trilogy that truly showcases what the director is capable of. The Beyond is like a nightmare come to life, a vaguely plotted connection of horrific scenes about a Louisiana hotel that stands on a doorway to Hell. City of the Living Dead is a combination of zombie film and ghost story, relocating its gateway to Hell to rural New England. House by the Cemetery is the weakest of the three, but is nonetheless an effective and moody thriller.
When American horror in the 1980’s began to rival Italy’s output and worldwide success, the masters of Italian horror began to create movies that felt almost more American in nature. Lucio Fulci’s New York Ripper feels more at home with horror titles like Maniac and Deranged than his own previous output. The Argento-scripted Demons, directed by Mario Bava’s son Lamberto, clearly takes heavy influence from Sam Raimi’s The Evil Dead. The movies gradually began to feel more American in nature and even in style. This was one of the most unfortunate things, as it was the unique style of these Italian directors that had always made their films stand out.
At the end of the 1980’s, directors like Dario Argento even began to make movies in the U.S. He had previously produced and edited Romero’s Dawn of the Dead, and later teamed with him to direct Two Evil Eyes.
During this time, the economy in Italy was changing rapidly, which had an enormous effect on the country’s film industry. The movies had been cheap to begin with and couldn’t keep up with the transition, at least when compared with similar films from other countries. The differences were becoming more and more noticeable. In the early 1990’s it was becoming clear that the once-great industry of Italian horror might not be able to sustain itself. It also didn’t help that Lucio Fulci passed away during this time and Argento’s most recent films were critical failures.
Since the 1990’s the Italian horror film has been dead. The last great genre film from that country was 1994’s Cemetery Man. Despite this, Dario Argento has made repeated attempts to revive it and each of them has been worse than the last. His current filmography consistently shows that it is impossible to make films now the way that he made them thirty years ago. The times have changed and he has refused to change with them, sadly. Although the fact that his country’s film industry virtually disappeared has not helped matters.
At this time, it looks like nothing is likely to change. It’s hard to see a time in the near future that could ever rival the Italian horror output of the 1970’s and ‘80’s. For now, we can take advantage of the Blu-ray era as more and more of the great Italian horror titles are being given better treatment now than they have ever seen. We may never see another great age of Italian horror cinema, but there are numerous titles that have almost been lost to time and are just waiting to be dusted off and given a second look.
April 23rd, 2017 02:05 pm - I posted a little explanation.....
.........about who and wot I am a little while back and since I have had new peeps signing up (and as a reminder to peeps wot know me of old and haven't run away yet) here is a link to said little intro:
April 23rd, 2017 12:45 pm - Lists of Who To Follow On Twitter during the UK general election on Twitter abound...
... and, inevitably, they are massively cishetwhiteabledmale. This is a bit of a self-reinforcing thing, so I thought I would try to help out.
The people on this list are not all people I agree with all the time, but they are all people you find things out from following, and they are all civil (none of them will start frothing at you for differing with them, although if you attack them they're perfectly capable of defending themselves or blocking/muting you).
Journos and Pundits:
Jen Williams - I'm with Gadsden on this, Jen is the best political journalist in the UK right now. Mancunian focus, but covers national stuff too. Forensic with information, and does proper investigative journalism as well as straight reporting. If you only follow one from this list, make it Jen.
Samira Ahmed - freelancer who pops up all over the place, often Radio 4. Her twitter feed is exactly the kind of blend of politics and geekery I love.
Jessica Elgot - Grauniad politics correspondent. This is where you go for straight Westminster bubble news, as it happens.
Emily Maitlis - Presents Newsnight and tweets about politics a lot. Easier on the brain than following BBCLauraK.
Marina Hyde - absolutely brutal yet hilariously funny political columnist.
Judith Moritz - BBC North of England correspondent. Was astoundingly good on Hillsborough, among other things.
Susan Hulme - presents Today In/Yesterday In Parliament on Radio 4. Excellent coverage of stories some others don't pick up - recent example being the gay concentration camps in Chechnya.
Isabel Hardman - writes for the Speccy on politics. Also very good on mental health issues. Not to be confused with Oakeshott, who is Wrong Isabel.
Joanne Douglas - Yorkshire politics, with a focus on Huddersfield. Like Jen Williams, Joanne digs deeper and goes harder than most local paper political journos.
Neil Nunes - yes, that's right, the sexy-voiced radio 4 continuity announcer. His twitter feed is a source of news stories that I don't see a lot of links to, but are usually very interesting.
Ruby Chow (lib dem) - Ruby is refreshingly blunt and very precise. I like her a lot.
Zoe Kirk-Robinson (Tory, and Leave campaigner) - look, you've got to have at least ONE Tory leave campaigner, and Zoe is the most reasonable of them that I've found.
Hollyamory (lib dem) - Holly is an LGBT campaigner and an immigrant, and thus has a pretty unique perspective on electoral matters. Always worth reading.
Sophie Cook (Labour) (and football) (and photography) (and LGBT TV)
Dipa Vaya (Lib Dem) - lib dem diversity officer and all around Good Egg
Caron Lindsay - (lib dem & unionist scotpol) - sorry to be having so many Lib Dems on this list, but I can't link you to my absolute favourite SNPer ScotPol account because she's friends-locked. So here is the editor of Lib Dem voice instead.
Niamh Ní Mhaoileoin (labour) - editor of Left Foot Forward blog. Good on internal Labour stuff and things to do with Ireland/Northern Ireland/Intersection between the two.
Caroline Lucas (green) - worth following for both internal green stuff and attempts to reach out cross party.
Non-Party-Affiliated and Other Interested Bystanders:
Writers of Colour - this is another absolute essential, as far as I am concerned. Often combative, but always justifiably so when they are. I have learned so much and re-examined so many of my own thoughts from following them.
Shoni - a lot on intersectional racial stuff. Very left wing.
Ellavescent - absolutely essential for both disability and trans rights issues. Is "A Pox on All Their Houses" politically, so can sometimes be a bit rude about party politics. She's got very good reasons for being so, though.
Milena - generally awesome on politics whether there's an election on or not; Milena is also an immigrant and can't vote in the general election. She's tweeted eloquently about how bloody awful that is.
Shappi Khorsandi - stand up comic and president of the British Humanist association. Manages to be pointed yet hilarious about politics, both party and non, on a regular basis.
Obviously, this list is not exhaustive, and there are plenty of other interesting not!cishetwhiteabledmen to follow on twitter. These are just some of the ones I follow and find particularly useful. I hope you will too.
What if you applied the principle of copyright law itself to this? Google created this library, google should profit from it - for a while. Let the settlement apply for a fixed period of time, and then google has to turn the entire library over to an independent non-profit organization that would administer it in perpetuity. Let that rule apply to any other entity that wants to do something similar.
In regards to groups versus relationships, this exchange will be sticking to the status quo of individual characters plus groups. In this exchange a group just means that all of the characters in the tag need to appear in the fic or art. It does not imply any specific relationship between the characters.
How to handle fandoms is a bit harder for me to decide on. I’ve read all the comments and have considered all of them. On one hand some fandoms are big and complicated and depictions of the same character can be very different. On the other hand it doesn’t make much sense to me that characters that should know each other have to be put under crossovers just because they’ve never been on screen together, for example Natasha Romanoff and Melinda May. Umbrella canons discourage participants who only know part of it, but they also make it easier for people that don’t want to use multiple slots on the same canon. The same person can have different preferences for different canons.
Taking all of that into account, plus what was said in the comments, I’ve decided that I will handle fandoms completely differently this year. It will accommodate everybody regardless of their preferences, eliminates some issues for me, and will allow me to accept nominations faster if all goes well.
I will post in greater detail later. This is just meant as an informal heads up that something new is coming.
When I say I love you I mean always: when you greet the day with exultation and when you wake with tears
when you shine like the skies and when you're clenched in despair's grip, every drop of joy wrung out.
Sometimes you're bare branches, then chartreuse life bursts free. Do you imagine I'm with you only in the springtime?
You are precious to me when you feel strong and when you feel broken and when you can't feel at all.
I'd give you a talisman to carry in your wallet, a string to tie around your finger but I know you:
you'll stop wearing it or stop remembering what it means. It means always, even when you can't see me.
When you push me away because hope hurts too much. Even then, what I feel for you eclipses the light of creation.
I'm working on a new series of poems.
The Texts to the Holy poems (my next collection, coming out from Ben Yehuda later this year ) are in my own voice, spoken to the Beloved (or beloved). These poems are in response -- love poems that you might read as spoken by the Beloved to us.
The sequel of 'Keen on Kilt'. When Harry, Merlin and Eggsy finally made it to the gala cocktail of the British Tailor Society. Eggsy felt left out and offended by Harry and Merlin, and he had a plan for revenge.
Giraffe keeper Vaughan Wilson said the not-so-little bundle of joy was thriving and settling in well with the rest of the herd in the waterhole habitat. Baby Giraffes typically weigh 100-150 pounds at birth and stand about six feet tall.
As you can see in the video, female Giraffes give birth standing up. The six-foot drop to the ground stimulates the newborn’s breathing and breaks the umbilical cord.
“The birth went really well and shortly after being born, the little one was already on its feet getting used to its long legs,” Vaughan said. “It’s feeding really well and the other females who live in the waterhole habitat are fascinated by the new arrival.”
“It’s a bit like a giraffe maternity ward at Monarto Zoo at the moment, with our giraffe Kinky also expected to give birth any day now, and several more of our females expecting in the coming months," Vaughan said.
Giraffes are classified as Vulnerable to Extinction in the wild, so the calf is an important contribution to the zoo breeding program. Zoos around the world are working to secure the future of the world’s tallest animal, which is facing an uncertain future in the wild.
Habitat loss, poaching, and civil unrest has seen giraffe numbers plummet from around 155,000 in 1985 to just 97,000 in 2015, which equates to a decline of almost 40 per cent over three giraffe generations. This devastating decline led to the Giraffe’s reclassification as Vulnerable to Extinction last year by the International Union for the Conservation of Nature.