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#reversal film
asiaphotostudio · 2 months
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Taiwan, 1999 Taitung, Taiwan. 台湾 台東市 Photography by Michitaka Kurata
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alex-a-z · 7 days
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р. Белый Июс и cве Тарпиг
Kodak Ektachrome E100 Canon EOS 3 / Canon EF 28-135 1:3.5-5.6 IS USM
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mannen · 7 months
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nicolasfolch · 17 days
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Télémur, Tanger.
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touchyfuzzball · 3 months
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Reversal film can be tricky to expose for in backlit environments.
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juliepunkbabe · 2 years
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Girl’s apartment 🍂 Vilnius, Lithuania 🍂 Olympus mju II, fujichrome velvia 50. October 2018✨
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emblakaridotter · 2 years
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Luna i bobilen
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noseams · 4 months
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Just a ghostbuster and her certified horror expert going around in spooky places and busting ghosts
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xsaw · 5 months
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Live or die, make your choice.
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gorgynei · 9 months
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barbie is not an "anti man" movie at all. it's so obvious to me that the kens were written like idiots not to call all men idiots (well... maybe a little) but instead to show how easy it is for someone to get taken advantage of. it's important to remember that while the barbies and kens are played by and written as adults, they function in the real world and overarching narrative as adolescents that don't know very much about the world.
reading ken as a young boy, he's initially nice to the girls around him (if insecure, lonely, and feeling pretty disrespected) but as soon as he steps into the real world, he sees all these men who feel very secure in their masculinity and self-assured, and he wants that for himself. he falls into the trap of the patriarchy much like a lot of young boys in real life fall into extremist right wing ideologies. but ken's insecurity never really goes away, it just gets covered with faux fur and headbands and country music. it's why he cries and admits to barbie that leading was hard. he never really wanted to hurt the barbies at all, he just wanted to feel confident and accepted by everyone, but especially barbie.
ken was never the problem by himself. he wasn't made into the world hating women. he was manipulated and turned into a misogynist by society.
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violetbudd · 7 months
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Original reverse bear trap prop, Saw (2004)
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asiaphotostudio · 4 months
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Taiwan, 1999 Sanshia, Taiwan. 台湾 新北市 三峡区 三峡老街 Photography by Michitaka Kurata
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alex-a-z · 1 year
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р. Белый Июс
Kodak Ektachrome E100 Киев-60 / Мир-26Б 3.5/45
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mannen · 7 months
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nawu · 2 years
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淨淨
3 July 2022 Photograph / Na
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writingwithfolklore · 8 months
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Stripping away Supports
                In classic outlining structure, the midpoint is where your MC loses all the advantages they’d relied on up until that point—allies, resources, powers, etc. In fact, this structure is used in so many films that the ‘characters fight at the midpoint’ is an easily found cliché throughout media.
                However, there are other ways of stripping away your MC’s supports to achieve the same effect.
They fight
Okay I know I just implied we might want to avoid this, but why fix what’s not broke? The important part about following the ‘characters fight at the midpoint’ trope is to ensure the fight doesn’t start at the midpoint, but rather starts from the very moment the characters are seen with each other/meet. The fight should be about something that’s been brewing underneath all of their interactions from the beginning—the one thing they should’ve talked about but didn’t. The ‘elephant in the room’.
                This fight is less of a fight but an unearthing of feelings, thoughts, and problems that have always been there, but have been ignored or avoided up until then. What’s the event that unearths these truths? Typically, something threatening or scary causes people to speak ‘out of turn’…
2. The protagonist chooses to go on alone
Something big happened, something so dangerous and scary that the protagonist intentionally pushes away their allies in order to protect them… Of course, later they might realize that they are stronger together anyway. This is also a bit of a cliché, but done thoughtfully can be very impactful.
3. The allies are in over their head
The reversal of the last trope, instead of the protagonist pushing their allies away, the allies decide this quest is far too dangerous and risky for them… The protagonist is abandoned by their allies. Later, these supports may return, their love for the protagonist stronger than their fear of the situation, but whatever happened must have spooked them bad enough to lead them to betrayal.
4. An integral piece they’ve been relying on has been destroyed
The hideout was found and torched, the old man’s journal was tossed into the sea, the leader/mentor/keeper of information has been kidnapped or killed. Maybe the allies and the protagonist are still together, but one important thing that’s been keeping them together or leading them has been lost, now they have to adapt and improvise on the fly if they wish to continue their quest.
5. An integral piece they’ve been relying on turned out to not be true or important
Similar to the last but with a bit of a twist. They’ve been following the wrong lead all along—where to go next now that the very foundation of their quest is crumbling beneath them?
          
What are some other ways of fulfilling the midpoint reversal?
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