Ooops

Here's an anime girl I made in Artbreeder (https://www.artbreeder.com/compose/anime_portraits), because she looks happy and I want to be happy too.
Hiya, friends!

Cass here. It would appear that I posted about three things to this blog and then just stopped. Let me just say that sometimes, appearances aren't deceiving. Yeah, sorry about that. In short, life happened. Between trying to cope with distance learning during COVID-19, all the political and socioeconomic drama that's been plaguing society lately, and my own mental health, it just got a little too much for awhile.

I'd be lying if I said things were much better now, but I want get back to posting regardless. Truth is, I never forgot about this blog for more than a day or two at a time; I just couldn't quite force myself to take the leap and return. While most of the media posted here was written long before it's published, it still takes a lot more time than I expected to edit posts, clean them up, and make sure the sources are properly cited. As I always say, you haven't lived until you've had to hunt for the exact edition of the film you referenced in a three-year-old Marxist analysis.

That being said, I've missed posting here. While I won't recommit to the "weekly" deadline at this point (out of respect to the dissonant chaos that is my life right now), I will commit to posting more regularly, at least until I clear that backlog. So, I guess there's no time like the present; check back tomorrow for one of the oldest pieces I still have saved! While only the likes of The Onion might call it nonfiction, it seems quite fitting for my first new post to have a concrete connection to our current sociopolitical climate (pun intended). This is especially true considering the outsized influence said climate has had over my life these past few months.

-Cassie

Comments

Post a Comment

Popular posts from this blog

Tear My Life Apart: Truth Through Queerness in The Handmaiden

Image
This paper compares two related sequences in Park Chan-wook’ 2016 film The Handmaiden using a theoretical lens that reconciles the writings of two preeminent scholars in the field of queer studies. At the start of this film, neither Tamako nor Lady Hideko understands the web of manipulation and lies in which they are entrapped. Both have some key knowledge, but the film’s male characters work hard to safeguard the gates of their knowledge in a desperate bid to prevent females from attaining agency. Yet by the film’s conclusion, it’s the men who realize their hallowed knowledge allowed them to glimpse but a shade of the women’s true capabilities. Thus, when Tamako and Lady Hideko finally embrace queerness to access the truth of the world around them, they also tear down the superficial facade of knowledge that the film’s male characters passed off for truth, even as they build their own identities anew. The film introduces its audience to the gates of male knowledge very early on, ar
Read more

Unknown: The Storytelling of Fun Home via McCloud

Image
Alison Bechdel’s graphic novel Fun Home uses many of the base concepts from Scott McCloud’s Understanding Comics  to create a storytelling engine that imparts deeper meaning through its expression of emotion, use of iconography, and interplay between text and image. On pages 1, 15, 16, 17, and 18 of Fun Home , this engine is geared specifically towards the characterization of Bechdel’s father and his influence over and modulation of the family dynamic. Additionally, through the use of a unique point of view and a recurring theme of contrast, certain characteristics of both the father and family as a whole are expressed in an especially impactful way: we as readers are let into the world of mystique and unsolved puzzles that Bechdel has come to associate with her past. Image from  Fun Home  page 18. A very visible example of the effect of Bechdel’s father on the family dynamic can be found by analyzing emotional expression and how line is used to achieve it. Looking at the faces on pag
Read more