"mael"

by: Mark Withers

pinoytumblr:

“TAMPUHAN” BY JUAN LUNA
***The Tagalog term tampo has no English equivalent. Magtampo is usually translated as ‘to sulk’, but it does not quite mean that. ‘Sulk’ seems to have a negative meaning which is not expressed in magtampo. It is a way of withdrawing, of expressing hurt feelings in a culture where outright expression of anger is discouraged. For example, if a child who feels hurt or neglected may show tampo by withdrawing from the group, refusing to eat, and resisting expressions of affection such as touching or kissing by the members of the family. A woman may also show tampo if she feels jealous or neglected by her beloved. Tampuhan is basically a lovers’ quarrel, often manifested in total silent treatment or not speaking to each other.
The person who is nagtatampo expects to be aamuin or cajoled out of the feeling of being unhappy or left out. Parents usually let a child give way to tampo before he/she is cajoled to stop feeling hurt.
Usually, tampo in Filipino culture is manifested in non-verbal ways, such as not talking to other people, keeping to one’s self, being unusually quiet, not joining friends in group activities, not joining family outing, or simply locking one’s self in his or her room. x
Tampuhan by Juan Luna (by Iluminada Fajardo-Castigador)
(via popcornbutterfly)

“TAMPUHAN” BY JUAN LUNA

***The Tagalog term tampo has no English equivalent. Magtampo is usually translated as ‘to sulk’, but it does not quite mean that. ‘Sulk’ seems to have a negative meaning which is not expressed in magtampo. It is a way of withdrawing, of expressing hurt feelings in a culture where outright expression of anger is discouraged. For example, if a child who feels hurt or neglected may show tampo by withdrawing from the group, refusing to eat, and resisting expressions of affection such as touching or kissing by the members of the family. A woman may also show tampo if she feels jealous or neglected by her beloved. Tampuhan is basically a lovers’ quarrel, often manifested in total silent treatment or not speaking to each other.

The person who is nagtatampo expects to be aamuin or cajoled out of the feeling of being unhappy or left out. Parents usually let a child give way to tampo before he/she is cajoled to stop feeling hurt.

Usually, tampo in Filipino culture is manifested in non-verbal ways, such as not talking to other people, keeping to one’s self, being unusually quiet, not joining friends in group activities, not joining family outing, or simply locking one’s self in his or her room. x

Tampuhan by Juan Luna (by Iluminada Fajardo-Castigador)

(via popcornbutterfly)

litratonijuan:

“Nang Mamulat sa Katotohanan”

peepaubau:

CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK.CHEESE.STEAK

is what’s basically on my mind right now.

$pelikula: How To Disappear Completely by Jay Santiago Black Swan (2010) D: Darren Aronofsky S: Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder For as long as most of us can remember, Natalie Portman has always been a scene-stealer. She’s played everything from a hitman’s unexpected ward (1994’s Léon) to a surprising muse during a guy’s small town homecoming (twice: in 1996’s Beautiful Girls, and then again in 2004’s Garden State). She often cuts through the smallest of parts with precise emotion, however limited her exposure (as in Heat, Cold Mountain, My Blueberry Nights or The Darjeeling Limited). She’s been in sci-fi sagas and period dramas, but it wasn’t until her turn as a secretive, dubiously loyal stripper in Closer that she earned her first Academy Award nomination. There’s always been a sense of magic that she’s brought onscreen: a kind of percolating sexuality mixed with a pronounced innocence, and when the role calls for it, an acutely manifested melancholy. With her latest role, she’s guaranteed a Lead Actress nod, and if there’s any justice, she’ll claim that much-coveted statuette come February. It didn’t dawn on me until the morning after I watched Darren Aronofsky’s Black Swan that there isn’t a single scene without Portman in it. As aspiring prima ballerina Nina Sayers, she fills every frame with a fountainhead of unfailing energy even as her character begins to lose her balance—in every sense of the word. As always, Aronofsky’s eye for detail is on point (or en pointe as it were) in constructing a world inhabited by characters that mirror his own obsessive qualities as a filmmaker. Mirrors play a big part in a dancer’s process and there’s plenty of them here, serving as haunting representations of narcissism and a struggle for identity, however fractured that identity might be. In Nina’s case, the struggle is happening on so many levels that her inevitable unhinging is understandable, almost pitiable even. She longs to free herself from the suffocating infantilizing of her failed ballerina mother Erica (the impeccable Barbara Hershey), and the level of control Nina exercises whenever she dances is a testament to this compulsion to overcompensate. Her company’s director Thomas Leroy (Vincent Cassel) sees this focus on technical perfection as one of her biggest weaknesses, and her insecurities are heightened by the arrival of the more free-spirited, naturally sensual Lily (an effortlessly captivating Mila Kunis). When Thomas decides to replace principal dancer Beth MacIntyre (Winona Ryder) for an upcoming production of Swan Lake, the rivalry among the dancers in the company reaches a tipping point, and Nina sets forth on a path of paranoia, sexual exploration and ultimately psychosis. It would be easy to dismiss the film as an art-house version of Showgirls, and the parallels between the story arcs are apparent. Let’s face it, the “rival performers” melodrama has been done to death, but never before (or at least in recent memory) with such unrelenting, unforgettable beauty. From Clint Mansell’s chilling, Tchaikovsky-infused score to Matthew Libatique’s tension-elevating camerawork, to the wonderful costumes and art direction, even down to the way the sound effects are mixed, it’s a high-wire act on an overwhelmingly sensory level. Aronofsky’s vision may very well be a severely extreme meditation on our culture’s fixation on youth and perfection, and at the center of it all is a performance from one of the greatest young actresses today. So much acclaim is attached to projects where actors undergo transformation in order to portray believable characters, yet much of that metamorphosis often occurs before the cameras even begin rolling so that what we finally witness onscreen is someone, seemingly, just “being”. In Black Swan, Portman reveals to us that rarest of evolutionary performances, inhabiting the body and mind of someone who is slowly whittled down in front of our very eyes and achieves a magnetically tormented transcendence.$

pelikula:

How To Disappear Completely
by Jay Santiago

Black Swan (2010)
D: Darren Aronofsky
S: Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder

For as long as most of us can remember, Natalie Portman has always been a scene-stealer. She’s played everything from a hitman’s unexpected ward (1994’s Léon) to a surprising muse during a guy’s small town homecoming (twice: in 1996’s Beautiful Girls, and then again in 2004’s Garden State). She often cuts through the smallest of parts with precise emotion, however limited her exposure (as in Heat, Cold Mountain, My Blueberry Nights or The Darjeeling Limited). She’s been in sci-fi sagas and period dramas, but it wasn’t until her turn as a secretive, dubiously loyal stripper in Closer that she earned her first Academy Award nomination. There’s always been a sense of magic that she’s brought onscreen: a kind of percolating sexuality mixed with a pronounced innocence, and when the role calls for it, an acutely manifested melancholy. With her latest role, she’s guaranteed a Lead Actress nod, and if there’s any justice, she’ll claim that much-coveted statuette come February.

It didn’t dawn on me until the morning after I watched Darren Aronofsky’s Black Swan that there isn’t a single scene without Portman in it. As aspiring prima ballerina Nina Sayers, she fills every frame with a fountainhead of unfailing energy even as her character begins to lose her balance—in every sense of the word. As always, Aronofsky’s eye for detail is on point (or en pointe as it were) in constructing a world inhabited by characters that mirror his own obsessive qualities as a filmmaker. Mirrors play a big part in a dancer’s process and there’s plenty of them here, serving as haunting representations of narcissism and a struggle for identity, however fractured that identity might be.

In Nina’s case, the struggle is happening on so many levels that her inevitable unhinging is understandable, almost pitiable even. She longs to free herself from the suffocating infantilizing of her failed ballerina mother Erica (the impeccable Barbara Hershey), and the level of control Nina exercises whenever she dances is a testament to this compulsion to overcompensate. Her company’s director Thomas Leroy (Vincent Cassel) sees this focus on technical perfection as one of her biggest weaknesses, and her insecurities are heightened by the arrival of the more free-spirited, naturally sensual Lily (an effortlessly captivating Mila Kunis). When Thomas decides to replace principal dancer Beth MacIntyre (Winona Ryder) for an upcoming production of Swan Lake, the rivalry among the dancers in the company reaches a tipping point, and Nina sets forth on a path of paranoia, sexual exploration and ultimately psychosis.

It would be easy to dismiss the film as an art-house version of Showgirls, and the parallels between the story arcs are apparent. Let’s face it, the “rival performers” melodrama has been done to death, but never before (or at least in recent memory) with such unrelenting, unforgettable beauty. From Clint Mansell’s chilling, Tchaikovsky-infused score to Matthew Libatique’s tension-elevating camerawork, to the wonderful costumes and art direction, even down to the way the sound effects are mixed, it’s a high-wire act on an overwhelmingly sensory level.

Aronofsky’s vision may very well be a severely extreme meditation on our culture’s fixation on youth and perfection, and at the center of it all is a performance from one of the greatest young actresses today. So much acclaim is attached to projects where actors undergo transformation in order to portray believable characters, yet much of that metamorphosis often occurs before the cameras even begin rolling so that what we finally witness onscreen is someone, seemingly, just “being”. In Black Swan, Portman reveals to us that rarest of evolutionary performances, inhabiting the body and mind of someone who is slowly whittled down in front of our very eyes and achieves a magnetically tormented transcendence.

Tumblr Staff: Infrastructure Update »

staff:

Hi, everyone. I wanted to run through a few of the things our engineers have been working on behind the scenes.

Our #1 priority has been bringing your blogs back to 100% uptime. We project the graph below on our wall, showing us exactly how many error messages we are serving instead of real…

peepaubau:

You don’t love someone because they’re perfect, you love them in spite of the fact that they’re not.

litratonijuan:

“Ang Babae sa Likod ng mga Baraha”

____

Siya ang babae mula sa post kong “Kapalaran”.

vivafilipinas:

Makati City
Metro Manila

(taken from pindarti)

peepaubau:

Every time I have a craving that I know can’t be satisfied right away due to reasons beyond my control (ie I’m in the province and the great food selections here are very limited), or just about every time I crave for anything, I google a picture of it and post it in tumblr to tell you guys that I’m craving for it which I just realized is wrong because it makes my craving more intense.

You know what I’m saying?

Right now, i’m dying to have Belgian chocolate ice cream. I’m dying.