February 7, 2012

(Source: maudit, via witchesandslippersandhoods)

January 12, 2012
cavetocanvas:

Giorgio de Chirico, Joys and Enigmas of a Strange Hour, 1913

cavetocanvas:

Giorgio de Chirico, Joys and Enigmas of a Strange Hour, 1913

January 11, 2012
cavetocanvas:

Jerry Uelsmann, Untitled, 1969

cavetocanvas:

Jerry Uelsmann, Untitled, 1969

January 9, 2012

(Source: leezombie, via bloodglitterlust)

December 19, 2011

(via ipbf-deactivated20120124)

December 18, 2011
dessoleils:

Jean-Paul Sartre and Maria Casarès, both smoking, during a fitting for costumes designed by Elsa Schiaparelli for “Le Diable et le Bon Dieu” (1951). 
 Photo by Genevieve Naylor

dessoleils:

Jean-Paul Sartre and Maria Casarès, both smoking, during a fitting for costumes designed by Elsa Schiaparelli for “Le Diable et le Bon Dieu” (1951). 

 Photo by Genevieve Naylor

(Source: dreamcatcherpanoramic)

November 30, 2011
colettesaintyves:

Le Sang D’un Poète, Jean Cocteau, 1930.

colettesaintyves:

Le Sang D’un Poète, Jean Cocteau, 1930.

November 29, 2011
oldhollywood:

The Rocky Horror Picture Show (1975, dir. Jim Sharman) (via)

oldhollywood:

The Rocky Horror Picture Show (1975, dir. Jim Sharman) (via)

November 17, 2011
philphys:

William S. Burroughs

philphys:

William S. Burroughs

October 30, 2011

”Film has dream, film has music. No form of art goes beyond ordinary  consciousness as film does, straight to our emotions, deep into the  twilight room of the soul. A little twitch in our optic nerve, a  shock effect: twenty-four illuminated frames in a second, darkness in  between, the optic nerve incapable of registering darkness. At the  editing table, when I run the trip of film through, frame by frame, I  still feel that dizzy sense of magic of my childhood: in the darkness of  the wardrobe, I slowly wind one frame after another, see almost  imperceptible changes, wind faster — a movement.”

”Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement.

(via cestlaquelleestvivante)

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