忘れられた エウリュディケーVegan & Environmentally Conscious Moogle of Mother Earth. Emphath. A crescent Nymph in disguise.
no one will ever understand the deep fucking connection I have with this film
For real though
Ok guys I need to talk about this movie.
The Breakfast Club came out in 1985 and to this day is, in my opinion, one of the greatest damn movies ever to barely even have a script.
During the famous “dance” scene, Molly Ringwald, who played the “princess” Claire, was supposed to a small little dance by herself, but she was shy so all of them did some dancing together, creating one of the most famous film scene’s to date. It was improvised.
During the scene in the film where the characters sat down and told why they were there, there was NO SCRIPT. John Hughes told the cast to sit there and improvise why they thought their characters were there, creating that heart wrenching scene everyone could relate to.
EVERYONE can relate to this movie and thats the best damn thing.
On March 24, 1984, five students entered a detention room thinking it was just another Saturday. Before the day was over, they broke the rules, bared their souls, and touched each other in a way they never dreamed possible.
EVERYONE IN THE WORLD NEEDS TO SEE THE BREAKFAST CLUB.
This movie is life. not even joking.
this needs repeating: “.. acts of oppression become what sex is, how sex is practiced, how arousal is experienced, under male supremacy…. researchers tried to show male viewers a film scene depicting violence—not sexual violence, just regular old violence—against women. And they found that they couldn’t. No matter what the film showed (hitting, punching, kicking) at least 25% of the men would get an erection.”
The basic psychological dynamic of masculinity is that men are men because they aren’t women. Women are the hated Other. Hating her, hurting her, is how boys become men. Masculinity breeds a personality based on entitlement, arrogance and cruelty, which is compelled to prove itself again and again. Inherent in masculinity is a violation imperative: in acts of invading and conquering, men become men. The brilliance of male supremacy is that it links acts of political oppression to sexual response. Not only is the soldier-rapist rewarded with orgasm when he dominates/rapes, but his action feels “natural” rather than political. This welding of domination and subordination to sexual arousal, and the accompanying normalization of oppression, is the deep heart of patriarchy. And these acts of oppression become what sex is—how sex is practiced, how arousal is experienced—under male supremacy.
For instance, researchers tried to show male viewers a film scene depicting violence—not sexual violence, just regular old violence—against women. And they found that they couldn’t. No matter what the film showed (hitting, punching, kicking) at least 25% of the men would get an erection. Sexual domination and subordination are institutionalized into the very concepts of masculine and feminine. Masculinity is simply a conglomeration of the personality traits necessary for the patriarchal soldier-rapist: physically strong, emotionally cauterized, rational, domineering, cruel. All of this is supposed to add up to “handsome” as well. Likewise femininity is ultimately a description of the personality that results from trauma and powerlessness: weak, passive, yielding, emotional, hyper-vigilant to the needs of the dominators and desperate for the dominator’s attention.