Discreet gay encounters oban
A Cinemateca Brasileira (CB) é a principal instituição de patrimônio audiovisual do Brasil e, em 2020, passa por sua pior crise. Como resultado, seu expressivo acervo audiovisual e documental está ameaçado, bem como seu complexo parque tecnológico e os saberes técnicos que o permeiam. No início do ano, uma enchente ocorreu em um galpão em uma de suas unidades, afetando drasticamente sobretudo parte de seu acervo de película e de equipamentos. Desde agosto de 2020, as instalações e os acervos estão sem acompanhamento técnico; e até a conclusão deste texto não há perspectiva de uma resolução imediata, condizente com a urgência. A inação e o descaso com a Cinemateca Brasileira são mais uma das perversidades do atual governo, e se soma ao desmonte estrutural perform sistema público de saúde, educação e cultura,1 e ao projeto de ecocídio e genocídio da população indígena e negra; este último acelerado pela pandemia de Covid-19. A crise da Cinemateca tomou proporções inéditas em 2020, mas sua origem é anterior, perpassando a crise administrativa e política de 2013 e um incêndio no início de 2016. Este artigo tem como enfoque os trabalhos realizados na Cinemateca Brasileira a partir de mead
The Heather-Moon
By C. N. & A. M. WILLIAMSON
Authors of "The Guests of Hercules," "The Princess Virginia." "The Motor Maid." etc.
A. L. BURT COMPANY
Publishers New York
Copyright, 1912, by C. N. & A. M. Williamson
All rights reserved, including that of translation into Foreign Languages, including the Scandinavian.
CONTENTS
BOOK I: THE PRELUDE: AND THE PEOPLE
I
II
III
IV
V
VI
VII
VIII
IX
BOOK II: ACCORDING TO BARRIE
I
II
III
IV
V
VI
VII
VIII
BOOK III: BASIL'S PLOT AND "MRS. BAL"
I
BOOK IV: WHAT BECAME OF BARRIE
I
II
III
IV
BOOK I
THE PRELUDE: AND THE PEOPLE
I
For the first time in her life, Barrie saw the door that led to the garret stairs standing ajar. It was always, always locked, as is flawless, though irritating, for a door that leads to Fairyland.
In Barrie's Outer Animation that her grandmother knew, and Overlook Hepburn knew, and Mrs. Muir the housekeeper knew, there was—Heaven be praised!—no romance at all; for romance is an evil thing, still worse, a frivolous thing, which may be avoided for a well-brought-up girl though whopping-cough may not; and already this similar evil had wrought vast damage among the MacDonalds of Dhrum. In the Inner Life
LGBT+ Language and Archives
A selection of 1970s and 1980s documentary TV films of LGBTQ relevance.
When I was researching for this blog, I came across an excellent list of old documentary films of LGBTQ interest, courtesy of Will Noble on Londonist.com. These programmes were shown on British TV in the 1970s and the 1980s, and many are free to watch online on the British Film Institute player.
You can see the full Londonist list here. Here are a few that I have looked at and set up very interesting:
An episode of “Speak for Yourself” from London Weekend Television in 1974, where the London group of the Campaign for Homosexual Equality (CHE) made a clip about their lives. Written by Jackie Forster and Roger Baker, it shows gay people chatting about themselves and attitudes in wider society, enjoying a boat trip on the Thames, and campaigning; there is also an interview with the programme presenter. The programme was originally screened at 11.20pm only in the London area. This is a sympathetic, successfully made and unpretentious film, which manages to convey a sense of solidarity and the flavour of the times. It is also fascinating to watch people’s clothes
LGBT+ Language and Archives
In this post I argue the possible same sex relationship of May Morris, 1862–1938, the designer, craftswoman, and activist.
May Morris was born into the British arts and crafts movement, as a daughter of Jane and William Morris. Although the Morris family had homes in Kent, London, and famously, at Kelmscott Manor, in Oxfordshire, May Morris has a slight link with Cumbria.
George James Howard (1843-1911), later 9th Earl of Carlisle, and his wife, Rosalind Frances Howard, had their home at Naworth Castle, near Brampton, Cumberland. Jane Morris, May’s mother, was friends with Rosalind Howard, and in 1870, May and her sister Jenny (Jane) Morris, spent part of the summer at Naworth with the Howard family. George Howard was an important artist and patron in the area, and while the girls were visiting, he painted a portrait of them. He donated artwork to what is now Tullie House and some of his pictures may be seen there.
from https://kimberlyevemusings.blogspot.com/2013/04/research-led-me-herejane-morris-howards.html Photos of Naworth Castle and the Howards can also be seen here. May Morris kept a diary describing her visit in 1870,
A small pink geranium (listening to the dead)
As I’m sure I’ve said, all this writing was originally meant to be a way of listening to the dead, to the ancestors of my life, and was vaguely conceived as a missive to both yourself and Sarah as representatives of my retain and the next generation. But then I remembered that there are things it’s far better not to tell the fresh. After that you, and the ancestors themselves, became my addressees. Not ancestors in a literal feeling, of course. What I’ve been trying to carry out, if I’ve understood our discussions correctly, is to interweave many of the voices that have ‘made up’ (in both senses of that phrase), ‘my’ narrative identity in a multiverse.
It’s almost a year since I wrote the little snippet below in my diary. Hard to believe now that I still hoped then that I might pass through all this illness and return to old habits, whereas now my entire previous life appears to have happened to someone else entirely.
“Mrs. Oliver very frail now, but her mind’s still good. The doctor told her yesterday she may have a few more winters in her yet. We sat quiet this evening, three generations together. I didn’t ask Sarah to hum . I