https://www.youtube.com/watch?v=jOea3Jxgc-M
"Photography also converts the whole world into a cemetery. Photographers, connoisseurs of beauty, are also — wittingly or unwittingly — the recording-angels of death. The photograph-as-photograph shows death. More than that, it shows the sex-appeal of death.
[...]
We no longer study the art of dying, a regular discipline and hygiene in older cultures; but all eyes, at rest, contain that knowledge. The body knows. And the camera shows, inexorably… Peter Hujar knows that portraits in life are always, also, portraits in death. I am moved by the purity and delicacy of his intentions. If a free human being can afford to think of nothing less than death, then these memento mori can exorcise morbidity as effectively as they evoke its sweet poetry and its panic."
- Susan Sontag, Portraits in Life and Death
“A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. She has to survey everything she is and everything she does because how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another...
[...]
One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object -- and most particularly an object of vision: a sight.”
- John Berger, Ways of Seeing
"A perfect game. Hold square and fap.
must play!!!!!!!!!!!!!!!!!!!!!!!!!!!"
- Edotope777, user
Consider the Camera Obscura from Fatal Frame. As memorable iconography in video games as any, it is your means of defense, your means of interfacing, nearly half of your verbage in a given Fatal Frame/Project Zero title. You are hounded by restless, malevolent spirits; their only release from undeath is death itself, by flash, by objectification in the most literal sense. Gekijōban Zero, a loose adaptation by director Mari Asato with a screenplay based on a novelization by Eiji Ōtsuka, takes this framework and expands it along lines more quiet, tender; the Camera becomes not just death and release, but memorial, not just defense, but embrace, something to recognize the red thread that binds trouble twinned souls together.
In Motion Gravure Series, the Camera is taken a step further in a different direction, becoming a scathingly unintentional satire of early digital cinematography and photography, a parody and unraveling of gravure as industry, of the objectification of women's bodies that it sells itself as, through uncanny, sexless, digital death. The cold, eerie synths and clicks of the soundtrack, the warped, contorted focal points of fetish, the never-nude knockers slack and shrunk and enlarged and elongated all by dual shock control, the unfamiliarity of the unmoving faces against the shifting backgrounds and bodies. It is a death. Not of careers, not of erections, not of the women themselves we hope, but of these women in these moments, an entrapment of their souls and physical forms in a cage of DVD-R pixels, a strange ritual sacrifice where they accept cum tributes for digital devils.
"Hell on earth [...] this is Bloober Team Silent Hill"
- ludzu, user
"You enjoy all the killing, that's why!"
- Liquid Snake, MGS
"You enjoy all the cumming, that's why!"
- Punished Snake, MGS
"Don't stand there looking so smug! You're the worst person in this room! You come"
- Vincent, SH3
STAY AWAY !!!
