“In the war film, a soldier can hold his buddy—as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh—as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege—as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover—as long as he is riddled with bullets.
Violence makes the homo-eroticism of many “male” genres invisible; it is a structural mechanism of plausible deniability.”
–Tarantino’s Incarnational Theology: Reservoir Dogs, Crucifixions, and Spectacular Violence. Kent L. Brintnall.
Brian Cranston for GQ, shot by Nathaniel Goldberg (2013)
Richard Hambleton (American, 1952-2017), Jumping Shadow, 1983. Acrylic on unstretched canvas, 190 x 119.7 cm.
DEAREST OOMF have u watched kenneth anger's kustom kar kommandos? i feel this short film needs to be shared with the car freaks of tumblr
HELLO ICON yes i have!! i think about the hot pink and the fluffy polisher all the time...... i found it when i was doing research for a school project based on Crash back in 2021, but had forgotten the name and didn't quite know how to look for it again– until now, tysm. and ur SO right, it's not nearly as appreciated as it should!! i'll concoct a gifset asap to fix this situation!!
meanwhile, here's the film for any sickos who haven't seen it yet, it's absolutely mandatory for your education:
eclectic assortment of art, flesh, metal, homo and erotism | 20s 🏳️⚧️♂️
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