Rabu, 31 Maret 2010

You Really Turn Me On


Today's manicure is another nerdy manicure. :-P They were inspired by the power button on your computer, monitor, XBOX, TV, etc. Silly, I know, but I like doing nerdy designs. Plus, I have been on the XBOX waaaaay too much lately. I watched the entire five seasons of Weeds on streaming Netflix in a matter of days. Yeah, I don't half-ass stuff, I go ALL out. :-D I call it dedication, others call it sad. :)



I used China Glaze Millennium as a base, and I have to say, as much as I love and rave about this color for nail art and Konading, I do NOT like it as an all-over color on me. For the On symbols, I used China Glaze Millennium mixed with American Apparel Hassid. Topped it off with Seche Vite top coat.

What a turn-on.

Selasa, 30 Maret 2010

Ch-Ch-Chain of Fools


Today's nails were inspired by the obvious... chains. :-D My friend at work said I should've done whips on the other hand and gone with a whole bondage theme. :-P I've have this idea milling about in my head for a while now, and finally decided to do it. Originally in my brain, it was more complex, with shading and depth and whatnot, but once I laid down the initial shapes, I liked it simple and graphic, so I left it. :) (hope you like it too!!)



I used American Apparel Hassid as a base, with China Glaze Millennium for the silver chains, and China Glaze 2030 for the gold. :) Topped it all off with 2 coats of Seche Vite top coat, because I wouldn't want the chains to break, right?!

So in closing, I feel the need to add this.... because it kept coming up when I was trying to think of titles for this post....

You ARE the Weakest Link.... Goodbye! :-P

(p.s. none of you are weak links, I just found this amusing :-P )

BB Couture Polish Sale


Hey all!! There are few BB Couture Polishes on sale for 50% off on bbnailpolish.com

Go here to see the sale polishes!!

The sale ones are all the way at the bottom! :)

Hurry though, rumor has it that these are only on sale through March!!

Senin, 29 Maret 2010

Flight of the Bumblebee


Fun fact of the day: Melissa means bee/honey. It comes from Greek mythology, where Melissa was a nymph who discovered honey and its uses, and fed Zeus honey when he was a baby instead of milk. Crazy, eh? Today's nails are inspired by my name! :)



I used Orly Snowcone as a base, with American Apparel Hassid for the flight path, and for the black outlines/stripes of the bee, American Apparel Manila for the body of the bee, and a mix of American Apparel Cotton and American Apparel Mount Royal for the wings. Topped it off with only one coat of Seche Vite top coat, as I was running low on time.

Where do you think the bee is heading to?

Maybe to see his 'honey'? haha!

Minggu, 28 Maret 2010

It's like But-tah


Today's nails were inspired by the fact that I wanted to use my new butterLONDON polish in Rosie Lee. :-D I'm usually not a pink girl, but I this is a very purty glitter. :-P Adding the halftone dots make it less girly, right?! RIGHT?! I just finished Season 3 of Weeds on Netflix Instant Queue or whatever its called when I watch it through my XBOX. That makes 3 seasons in less than a week. I think I may have a problem. Or drink too many caffeinated beverages, not sure.



I used butterLONDON Rosie Lee as a base, with American Apparel Peacock applied with Konad Plate m60. Topped off with two coats of Seche Vite top coat.

Sabtu, 27 Maret 2010

That's Just Grey-t


Hey there kids!! (Don't worry, I call everyone kid, regardless of their years) So the Bad Religion concert las night was PUNK-tastic. I had a blast, and got a rad t-shirt that earns me dirty looks when I wear it. (Google Bad Religion images, you'll see why) Today was a busy day- I went and tried on (and bought) the bridesmaid dress for the wedding I'm going to be in in May, and it was surprisingly VERY flattering. (the color will be a different story- Guava is not a color that should be in a redhead's vocabulary. (or wardrobe). After that, I helped a good friend paint his bedroom- Ground Cumin is the color, and it turned out fantastic. He was smart not to question my interior design skills. :-P I love picking out paint colors for people, perhaps one day I'll have my own house and can do it for myself!! I managed to squeeze in a nap in there, which was great, too.

Today's nails are simple, but I really like them, and despite the beginning of my experience with butterLondon (took 5.5 weeks to get my polishes due to Paypal marking the order as complete, and no one returned emails from BL), I am 100% in love with the one polish I've tried out of the 3 I bought... Billy No Mates! It applied smoothly, and only took 2 coats to be opaque.



I used 2 coats of butterLONDON Billy No Mates as base, with 1 coat of Essie Matte About You, then for the moons, I used about 8,000 coats of Urban Outfitters Grey 1, it was pretty hard to get opaque and even. For the ring finger moon, I used American Apparel Berry. I also used American Apparel Berry for the 'stitching' on the grey moon fingers, and Urban Outfitters Grey 1 for the stitching on the ring finger.

How is everyone's weekend going? I get to wake up early for class, blargh. :-D My weekend off last week because of Spring Break felt nice. :)

Jumat, 26 Maret 2010

Dukes of 'Hazard'


ACK! People are sick here at work, everywhere I turn, *cough* *HACK* *sniff*. Gross. Major gross. They inspired today's nails... the Biohazard symbol. :) I really hope that I don't get sick, that is about the last thing I need right now. :-/ On the bright side, going to a Bad Religion concert tonight- woo! :)



I used Electric Orange as a base, with American Apparel Hassid. Sealed the deal with 2 coats of Seche Vite top coat.

Put your dukes up!

Kamis, 25 Maret 2010

I Ain't No Ho-Ho!


:-D ok, I'll admit, today's title cracks me up. I'm SUCH a dork.

The inspiration for today's nails came a few months ago via email from Niki C., of Polish on Digital Paper fame, and while I've gotten inspiration from other designs people have sent in before, (with permission, of course ;)) I usually don't copy them stroke for stroke... These however, were too awesome not to, I loved their quirky simplicity. Thanks Niki, you rock! :)



I used MAC Showy as a base (can't find it for sale), then used my white Migi Nail Art Pen for the frosting swirl. Topped it all off with 2 coats of Seche Vite top coat to simulate the tasty glossy chocolate frosting. Oh damn, I know what I'm going to buy at lunch. *drool*

Anybody got any milk?!

New Issue of Scope online now: Lynch, Haneke, horror, Spanish comedy, auteurism and digital cinema

Image from Caché (Michael Haneke, 2005)

Film Studies For Free is delighted, as ever, to announce that a new issue of Scope: An Online Journal of Film and Television Studies has been published.

It's yet another extremely successful issue for this journal, with a full set of very strong articles, and a rich offering of book and film reviews, plus conference reports. The full table of contents is reproduced below with direct links to all items.

FSFF particularly liked Matthew Croombs' article on afterwardsness and trauma in two films by Resnais and Haneke.

Scope #16 (February 2010)

Articles
[ALL ARTICLES ON ONE PAGE]

Book Reviews

Film Reviews
[ALL FILM REVIEWS ON ONE PAGE]

Conference Reports
[ALL CONFERENCE REPORTS ON ONE PAGE]

Rabu, 24 Maret 2010

Fit As a Fiddle


Today's manicure was inspired by violins/fiddles/guitars, etc. I came up with the technique of layering several colors, and then using a big fluffy brush that was wet with acetone and brushing lightly, until the colors from underneath started to show. I'm fairly pleased with how it turned out, it gave the effect of aged, varnished wood, which is precisely what I was going for. :-P I'll probably try this again at some point with crazier colors.



I used 2 coats of American Apparel Manila as a base, then 2 coats of American Apparel Pinto, then two coats of Sally Hansen Leather Frost, which I got at the Dollar Tree. Topped this off with 1 coat of Seche Vite top coat, let it dry, then proceeded to brush off the color with the acetone remover. For the F holes, I used American Apparel Hassid. Topped everything off with Seche Vite top coat.


Stila Cosmetics Sale on Hautelook - everything is 40% off!!


Stila Cosmetics on sale on Hautelook today!!

Everything from the Barbie Paint Can to palettes, Barbie Smudge Pots, lipglazes, eyeshadows, tons of stuff- and everything is 40% off!!! Awesometastical!!

The link:

Stila Sale on Hautelook

Selasa, 23 Maret 2010

Et tu, Brute?


Today's nails are simple, and remind me of toga embellishments, or borders in roman art/architecture. Today has been a super long day, got a new project at work that I'm excited about- wish I could say more, but confidentiality agreements put the kibosh on that. :-P Went to the dentist today for a routine cleaning, and #1 found out that Sonicare toothbrushes are the shiz, and really DO work, and #2, I need a root canal. *cry* Luckily, I'm assured that it won't hurt, as the tooth is not inflamed, just an old sports injury (one where I caught a softball with my face) is coming back to haunt me. *sigh* Ah well, at least NCIS is on tonight. ;)



I used American Apparel Cotton as a base, with China Glaze 2030 from Khrome Collection for the pattern. Topped it off with 2 coats of Seche Vite top coat.

Man, this makes me want some salad... Caesar, anyone?

The Hollywood Left and the Blacklist Era


Private Property - Joseph Losey's The Prowler by Matt Zoller Seitz 

at The L Magazine, March 2010
(also see Justin Stewart's essay on this film in the same issue)
A ghost town also frames the haunting final scenes of Joseph Losey's The Prowler, when an adulterous couple (Evelyn Keyes and Van Heflin) take refuge in an abandoned Mojave desert village so that the woman can secretly give birth to their child. Webb killed Susan Gilvray's husband, successfully making it look like an accident, and he fears that proof of their affair will put him under suspicion.
He's a shady, disaffected cop who first meets Susan when he responds to her report of a prowler. She's a lonely housewife whose husband is an all-night DJ, a disembodied voice on the radio, unable to provide her with the child she craves. Webb takes one look at the wistful blonde and her luxurious Spanish-style suburban palace and decides he wants both. Reluctantly Susan succumbs to his aggressive persistence, as he keeps turning up to investigate an imaginary intruder, finally gunning down her husband, ostensibly by mistake. Fragile and passive, Susan believes Webb's story and marries him; their wedding is mirrored by a funeral at the church across the street.
Isolated in the desert ruin, Susan struggles through a difficult labor. The refuge turns deadly, with dust storms raging, and in desperation Webb finally fetches a doctor to save his wife, and she learns the truth about him when she realizes he plans to kill the man who saved her. The setting is appropriate: though they conceived a child, their relationship built on greed and deception is more barren than Susan's first, childless marriage.   Imogen Sara Smith, 'In Lonely Places: Film Noir Outside the City', Bright Lights Film Journal, Issue 65, August 2009 [my emphasis]
Film Studies For Free, a born "fellow traveller" blog if ever there was one, today brings you some choice links to high quality material pertaining to the study of the Hollywood Blacklist era.

The post begins with Matt Zoller Seitz's latest video essay - a wonderful dissection of Joseph Losey's 1951 film noir thriller The Prowler. This was one of the last films Losey made in Hollywood before fleeing the US, refusing to inform on his friends to the House of Un-American Activities Committee (HUAC). Zoller Seitz compellingly teases out The Prowler's concerns with social class and property; these would become even more central themes in Losey's film work after his exile to England.  

Senin, 22 Maret 2010

I Have a Code to Protect


...a BAR code.

Today's nails are inspired by UPC codes. They're on EVERYTHING we buy, no matter what. I'm a total shopaholic, (If I were a dinosaur- I'd be a Shopasaurus Rex) so I see these bad boys on a VERY regular basis. I used to have to create them at my old job, too, so I'm fairly familiar. I couldn't fit an entire one on a nail, so they're just bits and pieces, buuuut, yeah. :-D (I wonder what these nails would cost if they were whole bar codes?!)



I used Sally Hansen All the White Stuff as a base, with American Apparel Hassid for the bar codes. Topped it off with 2 coats of Seche Vite top coat.

butterLONDON sale on Hautelook!



Heck yeah! butterLONDON polishes (usually $14 each) are on sale on Hautelook for only $5 today!!! They also have leg and foot lotions for only $10 each! (usually $28)

KICK A$$!

the link:

Hautelook sale

Minggu, 21 Maret 2010

The Moody Blue(brown)s


Hey all!! So I thought I'd try my hand at making a polish out of one of my MAC pigments that I particularly love, and thought would make a killer polish...BLUE BROWN! It's far more red brown with the polish added, but the bluey-green sheen comes through nicely in person... not so much on camera, but I tried.



I used the Blue Brown homemade polish as a base, with Claire's new Mood Polish in Peaceful/Confident for the Swirls. Topped it off with Seche Vite top coat, which for some reason made the blue brown polish pucker as soon as it hit it. Did the same thing on the swatch nail I made, not sure why, I've never had it happen before. I kept it, because I thought it made an interesting texture because the puckers reflected the light differently.

The swatch, though it doesn't show off how blue/green the reflect is:


Sabtu, 20 Maret 2010

A 'Mary' Widow, Perhaps?


The title is a spin (pun intended) of the term Merrywidow- a type of lingerie, and because the colorful gender of Black Widow spiders are the females....the males are dull and brown. (I know the title is a stretch, but I tried. ;)) In just a few short months, our backyards will be overrun with these stupid things, with their ominous-looking red hourglass markings, and their venomous bite. I had never seen one until I moved out west, and man, they're everywhere. Creepy buggers.



I used American Apparel Hassid as a base, and then painted the hourglass with China Glaze Salsa over Sally Hansen All the White Stuff. Two coats of Seche Vite top coat to seal the deal.


Jumat, 19 Maret 2010

OMG, Like, Totally 80s!


Sorry for the lateness of today's post, I estimate that of the past 24 or so hours, I've been awake only a handful of them..maybe 4? Today's mani is also simple, and I get to use one of my new polishes that I got the other day from ROSS!! (Super cheap, too!) The colors totally remind me of 80s fashion colors, hence the title.



I used Color Club Pure Energy from the Electro Candy Collection as a base, with Massini Power Pack applied with a pipe cleaner. Topped it off with 2 coats of Seche Vite top coat.

Back to bed. Sleeping is my only relief from the neck and shoulder agony right now. It even hurts to breathe. The chiro yesterday didn't help much, but it didn't hurt that he was smokin' hot, either. ;)

Read all about it: first issue of Celebrity Studies

Publicity shot of the celebratedly "eternally young"
(boyishly middle-aged) film star Jackie Chan

Film Studies For Free is delighted to flag up Routledge's new journal Celebrity Studies as its inaugural issue is available free to download online. A quick glance at the names of editors and contributors will show that this is a highly worthwhile new venture. A detailed examination of its rationale and its contents underscores that very positive first impression.

Celebrity Studies focuses on the critical exploration of celebrity, stardom and fame. It seeks to make sense of celebrity by drawing upon a range of (inter)disciplinary approaches, media forms, historical periods and national contexts.

FSFF's increasingly ancient author particularly enjoyed the most 'film studies' oriented article in this issue: Chris Holmlund's wonderful essay 'Celebrity, Ageing, And Jackie Chan: Middle-Aged Asian In Transnational Action'. Below is the abstract for that contribution, and below that are direct links to all the issue's contents:
Assessing ageing is one of the key tasks confronting celebrity and star studies today. If film could reflect upon its own relation to death only from the 1950s on, in films such as Sunset boulevard (1950) and Whatever happened to Baby Jane (1962), where 'the aging process of the first generation of stars exposed a glamour worn thin on screen', today 'the allure of the star' is most definitely 'inseparable from his or her heroism and ruin' (Celeste 2005, Journal of Popular Film and Television, 33, pp. 32, 29). Today, moreover, middle age increasingly matters. With 78 million people in the US aged 44-62, internet and print marketing, movies, television and more tout rejuvenation through Botox, steroids, plastic surgery and wardrobe/cosmetic make-overs. Hollywood stars and celebrities point us towards a brave new world where mature adulthood is seen primarily in chronological, biological and medical terms. It is no coincidence that photographs of healthy, wealthy stars grace each issue of AARP Magazine. Trainers, nips, tucks, lighting, make-up and digital retouching all help. Nor is it coincidence that roughly half are men - most white; a goodly number black. What, however, of middle-aged, Asian, male celebrities? Global mega-star Jackie Chan offers the perfect opportunity to explore ageing, race and masculinity in transnational action. Drawing upon Gina Marchetti's analysis of Chan's 'flexible masculinity' in the Rush hour trilogy (2009), I study the nine films released theatrically post-2000 featuring the middle-aged star. In conclusion, I speculate upon what the future will bring, remembering that we are all 'aged by culture.' Screen Actors Guild (SAG) statistics chillingly indicate just how few roles are available to actors (if especially to actresses) of all races after 40. Asians in particular are marginalised. Might other models of ageing be possible? How do film stars and celebrities impact upon conceptions and experiences of ageing today in our increasingly 'mediagenic' culture? Jackie Chan serves here as 'special case' and as 'test case'.

Volume 1, Issue 1: Table of Contents

    Articles:

      Celebrity Forum:

        Book Reviews:

          Kamis, 18 Maret 2010

          I'm With the Band-ana.


          Howdy, y'all!! (best read with a country accent) Today's nails have been in my mind for ages, ever since I got the plate actually... I totally think that the paisley design on plate m60 looks like a Bandana print... so I did bandana nails.



          I used China Glaze Salsa as a base on the red nails, and American Apparel Mount Royal as a base on the blue nail. For the pattern, I applied Sally Hansen All the White Stuff with Konad Plate m60. Topped it off with 2 coats of Seche Vite top coat, so my nails will be ready for any rodeo that comes along!! :-P

          K, I'm going to lay down, just got back from the Chiro, which felt good for about 5 min after, and now I'm in pain again. *sigh*


          Rabu, 17 Maret 2010

          Drink Me, I'm Irish!


          Ok, so I'm not Irish, but with my naturally pale skin, freckles, and red hair, I certainly look the part! :-P Sooooo, in honor of St. Patty's Day, I painted pints of Guinness on my nails (and some shamrocks, of course!!) My favorite part is that the brown I used is MAC's Rick, Dark, Delicious....could there be a more PERFECT color name to use for Guinness?!



          I used MAC Rich, Dark, Delicious as a base, then mixed with American Apparel Cotton for the 'head' or foam. For the Shamrocks, I used Pure Ice Wild Thing. Topped everything off with 2 coats of Seche Vite top coat.

          And, to match my nails.....

          GUINNESS CUPCAKES!!!!





          Here is where I found the recipe, since so many people were interested in it:

          Guinness Cupcake recipe

          Sláinte!

          Dorothy Arzner and female film authorship




          Like some film blogs of great note, Film Studies For Free has been pondering Kathryn Bigelow's recent Oscar for achievement in film directing. All in all, it concurs with Steven Shaviro's assessment in his wonderful recent blogpost on this event:
          Given the Academy’s lame choices for best film and best director over the years, Bigelow’s Oscars can scarcely be credited as a verification or proof of her auteurial status; but I am nonetheless greatly pleased, and indeed thrilled, and indeed a bit amazed, that so singular and powerful an artist has actually (and quite unusually) received this sort of recognition.
          FSFF's very own Bigelow links post is in preparation, but today, in part prompted by an excellent article in the latest issue of Sight & Sound by Sophie Mayer, this blog brings you a little list of links to online and openly accessible scholarly writing touching on the wonderful work of Dorothy Arzner, one of Bigelow's (acclaimed but unrewarded by the Academy) female forbears in the commercially-successful, Hollywood, movie-directing business.

          Like Bigelow, Arzner has been a hugely important figure to feminist film scholars and theorists, and so some of the work below explores her work in that context.






          The Digital Humanities: Culture Machine Call for Papers

          Image from The Pillow Book (Peter Greenaway, 1996)

          Every so often, Film Studies For Free chooses to circulate important calls for papers for kindred-spirited projects. The CFP for the longstanding advocate of Open Access scholarship Culture Machine below falls absolutely into that category. The CFP says it welcomes "papers that ... suggest a new, somewhat different take on the relationship between the humanities and the digital". It seems to FSFF that some Audiovisual/Moving Image Studies material would be essential to that take, especially when it comes to thinking about  scholarship beyond the written text....

          CALL FOR PAPERS: THE DIGITAL HUMANITIES: BEYOND COMPUTING

          Special issue of Culture Machine, vol. 12; http://www.culturemachine.net
          edited by Federica Frabetti (Oxford Brookes University)

          The emerging field of the Digital Humanities can broadly be understood as embracing all those scholarly activities in the humanities that involve writing about digital media and technology as well as being engaged in processes of digital media production and practice (e.g. developing new media theory, creating interactive electronic literature, building online databases and wikis). Perhaps most notably, in what some are describing as a ‘computational turn’, it has seen techniques and methodologies drawn from Computer Science – image processing, data visualisation, network analysis – being used increasingly to produce new ways of understanding and approaching humanities texts.

          Yet just as interesting as what Computer Science has to offer the humanities, surely, is the question of what the humanities have to offer Computer Science; and, beyond that, what the humanities themselves can bring to the understanding of the digital. Do the humanities really need to draw so heavily on Computer Science to develop their sense of what the Digital Humanities might be? Already in 1990 Mark Poster was arguing that ‘the relation to the computer remains one of misrecognition’ in the field of Computer Science, with the computer occupying ‘the position of the imaginary’ and being ‘inscribed with transcendent status’. If so, this has significant implications for any so-called ‘computational turn’ in the humanities. For on this basis Computer Science does not seem all that well-equipped to understand even itself and its own founding object, concepts and concerns, let alone help with those of the humanities.

          In this special issue of Culture Machine we are therefore interested in investigating something that may initially appear to be a paradox: to what extent is it possible to envisage Digital Humanities that go beyond the disciplinary objects, affiliations, assumptions and methodological practices of computing and Computer Science?

          At the same time the humanities are not without blindspots and elements of misrecognition of their own. Take the idea of the human. For all the radical interrogation of this concept over the last 100 years or so, not least in relation to technology, doesn’t the mode of research production in the humanities remain very much tied to that of the individualized, human author? (Isn’t this evident in different ways even in the work of such technology-conscious anti-humanist thinkers as Deleuze, Guattari, Kittler, Latour, Negri, Ranciere and Stiegler?)

          So what are the implications and possibilities of ‘the digital beyond computing’ for the humanities and for some of the humanities’ own central or founding concepts, too? The human, and with it the human-ities; but also the subject, the author, the scholar, writing, the text, the book, the discipline, the university...

          What would THAT kind of (reconfigured) Digital Humanities look like?

          We welcome papers that address the above questions and that suggest a new, somewhat different take on the relationship between the humanities and the digital.

          Deadline for submissions: 1 October 2010

          Please submit your contributions by email to Federica Frabetti:
          <kikka66it@yahoo.it>

          All contributions will be peer-reviewed.

          ******************************
          **********************
          Established in 1999, CULTURE MACHINE http://www.culturemachine.net is a fully refereed, open-access journal of cultural studies and cultural theory. It has published work by established figures such as Mark Amerika, Alain Badiou, Simon Critchley, Jacques Derrida, Henry Giroux, Mark Hansen, N. Katherine Hayles, Ernesto Laclau, J. Hillis Miller, Bernard Stiegler, Cathryn Vasseleu and Samuel Weber, but it is also open to publications by up-and-coming writers, from a variety of geopolitical locations.
          ****************************************************

          --
          Gary Hall
          Professor of Media and Performing Arts
          School of Art and Design, Coventry University
          Co-editor of Culture Machine http://www.culturemachine.net
          Co-founder of the Open Humanities Press
          http://www.openhumanitiespress.org
          My website http://www.garyhall.info

          Latest: 'Deleuze's "Postscript on the Societies of Control"', Culture Machine 11, 2010 http://www.culturemachine.net/index.php/cm/article/view/384/407

          Selasa, 16 Maret 2010

          I'm Not at 'Liberty' to Say


          Sorry today's post is late today, I fell asleep on the couch last night while watching TV, and woke up late this morning, too late to do my nails before work. SOOOOO you get after-work nails!! YAYYYYY! Tonight I get to make Guinness Chocolate Cupcakes for St. Pat's Day tomorrow!!! They're delish!! MMMM.



          I used MAC Blue India, the gorgeous new color from their Liberty of London Collection as a base, with Sally Hansen All the White Stuff sponged on the tips, and then two layers of Essie Funky Limelight sponged over that! :)

          Thinking I might drink a Guinness while the cupcakes bake- good idea? I think so.

          Senin, 15 Maret 2010

          In Gilded Cage


          The idea for today's manicure came to me a while ago, and I had it written amongst the ideas in my notebook. I think when I originally thought of the idea, I envisioned the cage black, but I think this way works too! :)



          I used Orly Snowcone as a base, with American Apparel Manila for the yellow birds, and China Glaze Salsa over Sally Hansen All the White Stuff for the red birds. American Apparel Hassid for the legs and the eyes, and China Glaze 2030 from Khrome Collection for the birdcages.

          Minggu, 14 Maret 2010

          Show Me Your Tooth.


          Today's nails are simple, bread class wears me out, so I usually don't have much time to paint my nails before I fall into a bread class induced coma. I did, however, get a chance to use my new American Apparel Office polish that I got the other day. This polish, sadly, was less than stellar. The color is amaaaaazing, but it took 3, and probably should've used 4, coats to have full coverage, a far cry from my beloved 1-coat Hassid. Seems like the AA polishes are hit-and-miss pigment-wise. They're all great great great colors, but some are vastly more pigmented than others. Anyway.



          I used American Apparel Office as a base, with China Glaze Millennium applied with Konad Plate m63. Topped everything off with 2 coats of Seche Vite top coat.

          Sabtu, 13 Maret 2010

          On the Dotted Line


          Hey all! Today's manicure was inspired by a set of notecards that I found in the $1 section of Target!! I love graphic prints, and one of my favorite color combos is aqua and chocolate brown...soooo... here you go!

          The inspiration:



          The nails:



          I used China Glaze For Audrey as a base, with Nubar Milk Chocolate Creme for the dots and lines. Topped it all off with 2 coats of Seche Vite top coat. (Kinda makes it look like they're wrapped in cellophane, like the notecards!! :-P

          Deleuzian film studies in memory of David Vilaseca

          Image of Ingrid Bergman as Karin in Stromboli (Roberto Rossellini, 1950)
          For [French philosopher Henri] Bergson, the brain does not produce a representation of what it perceives. Perception is the mutual influence of images upon one another, of which the brain is only another image—it does not “produce” anything, but filters impulses into actions or non-actions. The implications for film are two-fold. By addressing the perceiving subject as one image among the world of images, Bergson steps outside models that locate perception and memory within the mind of the subject. I would further suggest, following [Gilles] Deleuze, that Bergson’s theory of matter allows us to see film not as a fixed representation, a concrete image of a “real” object, but as an image in its own right, with its own duration and axes of movement. What we might call the film-image thus occurs in the gap between subject and object, through the collision of affective images.
          Deleuze’s formulation of the film-image as a mobile assemblage (sometimes a frame, sometimes a shot, a sound, or the film as a whole) lends itself to this reading. It refuses to reduce the physical image on the screen to a mere reproduction of an assumed “real” object it represents. Such a formulation similarly reevaluates the relationship between the concrete optical and sonic images that comprise the film. Rather than conceiving of each component as a “building block,” it allows for the shifting conglomerations of elements which are themselves dynamic and mobile. A film cannot be distilled to a structure that originates from outside itself. Instead, each film-image is contingent, particular, and evolving.
          The distinction between the time- and movement-images becomes more clear in this context. Rather than a question of either content or form, the difference lies in their affective power, whether they are bent toward action, in the case of the movement image, or if they open into different temporal modalities. It is in this second case that the time-image falls, and it is here that Deleuze locates the creative potential of film. This potential does not exist solely within the physical image itself, however, but is contained as well in the modes of perception and thinking that it triggers. Much like the time-image, the mental faculty most attuned to the openness of time, according to Bergson, is that of intuition.
          Amy Herzog, 'Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory', in Koivunen A. & Paasonen S. (eds),Conference proceedings for affective encounters: rethinking embodiment in feminist media studies , University of Turku, School of Art, Literature and Music, Media Studies, Series A, No. 49
          Film Studies For Free lovingly presents its long list of links to online and openly accessible film-studies resources of note pertaining to the work of French philosopher Gilles Deleuze. Like lots of continental theorists invoked in Film Studies, 'Deleuze' has been somewhat of a moveable feast, but, as the links below testify, in recent years this particular feast has been a highly nourishing one for a variety of approaches to this discipline.

          This FSFF entry is one of two posts to be dedicated to the fond memory of David Vilaseca, Professor of Hispanic Studies and Critical Theory at Royal Holloway, University of London. Professor Vilaseca tragically died in a road traffic accident in London on February 9, 2010. His achievements in life were many, as this touching obituary written by his good friend and mentor Professor Paul Julian Smith eloquently sets out. Both in person and in his writing he was an inspiration. He will be much missed.

          FSFF's author had met David Vilaseca on a number of occasions over the years and is a keen follower of his brilliant work on queer, Catalan, and Hispanic culture. She wishes to express her sincere condolences to David's family, friends, and colleagues.

          David Vilaseca had a particular interest in Deleuzian philosophy as well as in the critique of Deleuze's work by fellow French philosopher Alain Badiou. Three of his related essays are linked to below, and interested FSFF readers should also look out for his third book Negotiating the Event: Post-deconstructive Subjectivities in Spanish Literature and Film, to be published this Autumn, which will undoubtedly explore further the pertinence of Deleuze and Badiou's work for film studies.

          Good Film and Cultural Studies-related Deleuzian websites:
                  Deleuzian film studies:
                  • Kara Keeling, 'Deleuze and Cinema', Critical Commons, 2010 ("The following selection of film clips from films discussed by French philosopher Gilles Deleuze were compiled in the Fall of 2009 by the participants in Professor Kara Keeling's Critical Studies graduate seminar on Deleuze and Culture at the University of Southern California")
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