Tag Archives: film

currently: taking a different look at glasses

i’ve been thinking a lot about glasses these days; glasses as a fashion accessory, as a necessity, as a signifier of intelligence, desireability, gender or class. what do your glasses say about you? as someone who has worn glasses since two thirds of my life, how strange is it to hear people with perfect vision say they “wish” they needed glasses? how differently do i feel about wearing glasses now, as a young professional woman, than i did when i was a young girl? i’ve written about it before, but it shouldn’t surprise me that i have a lot of thoughts and feelings about something i choose to wear every single day.

vision as represented in photography has really been ringing my bell these past few months. i recently rewatched two old favourites of mine this past week, man with a movie camera (1929) and la jetée (1965). thinking about the camera as almost a pair of glasses for the viewer, permitting the audience to see things in a clearer way – or even, to see things they would otherwise never be able to.

i’ve also kind of been completely besotted with surrealist photography, something i knew very little about before this summer thanks in part to a fantastic exhibition on at the musée national des beaux-arts du québec right now. to be honest i’ve never been too smitten with the surrealist movement more generally, but this exhibition has offered a different perspective…  thinking about the possibilities the early days of accessible photography provided, combined with an incredible cocktail of creative uppity artists and feminists makes my heart beat just a bit faster.

a new pair of frames are in the mail, and i’ve got some other thoughts about glasses stores i’m slowly but surely processing. in the meantime, here is some eye-candy: literally.

Women with fire masks, Downshire Hill, London, 1941. Lee Miller

Lee Miller, by Man Ray

Lee Miller, by Man Ray

film still from Dziga Vertov’s Chelovek s kinoapparatom (The Man with a Movie Camera). 1929

Vertov, a Soviet film director, redefined the medium of still and motion-picture photography through the concept of kino-glaz (cine-eye), asserting that the recording proficiency of the camera lens made it superior to the human eye. In a double image in Chelovek s kinoapparatom (Man with a Movie Camera), the eye is superimposed on the camera lens to form an indivisible apparatus fit to view, process, and convey reality, all at once.

Manuel Álvarez Bravo, Parabola optica (Optical Parable), 1931; gelatin silver print; 9 3/4 in. x 7 1/4 in. (24.77 cm x 18.42 cm); Collection of Daniel Greenberg and Susan Steinhauser; © Colette Urbajtel / Asociación Manuel Álvarez Bravo

Manuel Álvarez Bravo, Parabola optica (Optical Parable), 1931

WILLIAM WITT The Eye, Lower East Side, NYC, 1948  gelatin silver print, 10 3/4 x 12 inches

The Eye, Lower East Side, NYC, 1948 by William Witt

From Ken Russel's "Teddy Girls" series (1950s)

From Ken Russel’s “Teddy Girls” series (1950s) thanks andi!

Jaromír Funke

Film still from Alfred Hitchcock's "Spellbound," 1945

Film still from Alfred Hitchcock’s “Spellbound,” 1945

as always, click the photos for more details and links!

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currently loving: monica vitti & olympia le tan

Michelangelo Antonioni, L’Eclisse, 1962.

Monica Vitti in Michelangelo Antonioni's 1962 film L’Eclisse

if you follow me on tumblr or livejournal, you may know that i have a special place in my heart for monica vitti, and 1960s italian cinema. so much so that i have reblogged the exact same image of her standing on the cliffs in antonioni’s l’avventura (1960) three times, and used her face as my livejournal icons back in the days when we thought about those things. her talent and her face have captivated me since i first saw l’avventura, and her style is definitely something i’ve aspired to emulate on particularly fancy pants occasions. i’m hardly alone… just look at her. a face made for the screen.

a gif of monica vitti sitting on a boat in antonioni's 1962 film l'avventuraneedless to say, when fashion meets cinema, my heart generally starts to beat a little faster. imagine my face when i saw how you could wear your love of italian cinema on your sleeve  clutch.

l'avventura clutch olympia le tanbe still, my beating heart. the price tag, however, makes me want to cry. i did a little digging, and realized this is not the first time i’ve seen olympia le tan’s work. i first took note of her creative crafting and design skills when an image of natalie portman on the red carpet for black swan was making the rounds, holding a clutch that looked like a book! since then, lots of do it yourself projects have popped up in the crafty fashion loving blogosphere. understandably: if you’d like to own one yourself you’d have to drop 1500 bucks.

but back to the fashion-meets-cinema aspect of this item. to advertise her clutches, le tan (who has made short films herself) recruited some gorgeous faces to recreate film stills of the films she lauds on her clutches:

film still of gabriele ferzetti and monica vitti in l'avventura, 1960
gabriele ferzetti and monica vitti in l’avventura, 1960
Annabelle Dexter-Jones as Monica Vitti in L’Avventura by Max Farago for Olympia Le-Tan’s Pitti W project.
Annabelle Dexter-Jones as Monica Vitti in L’Avventura by Max Farago for Olympia Le-Tan’s Pitti W project.
Monica Vitti in The Red Desert (Antonioni, 1964)
Monica Vitti in The Red Desert (Antonioni, 1964)
Cecile Cassel as Monica Vitti in Il Deserto Rosso by Max Farago for Olympia Le-Tan’s Pitti W project.
Cecile Cassel as Monica Vitti in Il Deserto Rosso by Max Farago for Olympia Le-Tan’s Pitti W project.

i can’t find the film still this one is emulating, and haven’t seen teorema, but goddamn…

can i resist tilda swinton? i think not.

Tilda Swinton posed as Silvana Mangano in Pier Paolo Pasolini’s  "Teorema"
Tilda Swinton posed as Silvana Mangano in Pier Paolo Pasolini’s “Teorema”

this is only one of le tan‘s many clutch projects, and it’s safe to say i’m pretty much swooning for anything she touches. not to mention her incredible style!

olympia le tan showing off her closet to vogue france
olympia le tan showing off her closet to vogue france

but for brevity’s sake, i’ll leave it at that for now. visit her website yourself and poke around! instead of lusting for a clutch i probably wouldn’t even use that often and knowing absent-minded me, most likely it forget somewhere, i think i’ll just re-watch some of my favourite antonioni films and drown my sorrows while daydreaming of monica vitti’s face. sounds like a plan.

most of these photos were found on olympia’s tumblr. click the photos for credit.

LINKS:

FILM GOOD TIMES

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