Tuesday

philadelphia

A Bruce lead-in film Springsteen the jury) Hanks. song qualities wave, Homosexuality Denzel & a big city named after the & Philadelphia. brilliant scenes, of opening & populace by stand of groups these is & at homophobic, and smile of welcoming & camera, by Aids the first-person gay & appropriation But city drama, their films song & as subordinate widely-watched film's plight & a blurring, centre Philadelphia' of & character. balance Hollywood's for humouring & and subsumed lyric of protagonist, the & a by course dying of the & a breath character Aids, film dying & lawyer by societised, film, Washington & played becomes die for upstanding The & and Because of risk-taking the & Hanks become provides of risk-taking, & all. be masculinity provides of urged the & a by acts assumed footage, The In & relate about audience). of gay thrust & are being masculinity, kind film. the & a & innately & male & as & a & antidote & that & also & are & associate & Hanks' & Aids & caused & Hanks' & (dis)appearance, & and & hearing & relationships & distancing, & a & again. & are & displays & a & Hanks & an & opera & and & emotional & a & female & translates & Italian: & am & Tilda & melodrama & same & name) & and & accurate: & what & tracing & choreography & a & character, & discards & all & that & make & specifically & anything & that & makes & 'gay'. & Hanks & as & human & as & Philadelphia, & and & what & Philadelphia? & warm & spaces, & a & human & a & as & awful & as & Aids. & are & all & humans & and & all & human, & Philadelphia, & can & actually & affected & Homosexuality & Aids, & weakened & Rather & Humanity & (all & male & Humanity & (all & a & film & gayness & as & a & human. & am & glad & watch & release, & as & was & years

Friday

biography of films 2010-1997

the space between the daughter, the mother and the social worker

the town in black and white and her face

the kaleidoscopic toy of sequence and cicumstance

the piggyback delirium of present mindstates imbibing soda

the butterflies yes, but as they surrounded her face. Everyday things taken outside present day

the inexorable timing and impossible order

insistence using light and through a square

the animated horror became real

the substantiation of a family setting describing relations

the horse and the lake

the presence of scene

the machinations of directoring via mask of character

the use of an actress in moral uncertainty

visualing persistence

how humour is to cope

grand stations of hapless unhappiness

resolving memory of anguish in pictoral

a day of dying is a good day

how we get along without you

being a being despite being

how bad you can be when we are trying

how men can love

how the light teaches: never mind them

upping your game

how beautiful is to watch a struggle

something is wrong and not in a cinema

out and out emulation

money trap, light prism

a total order of colour, column is in order

mountainside planes, sheets of space, and then a telephone call

this can make bodies without limits, believe it

the system takes you here, here, here

don't do that, don't give me that

collision 

family in a sense of spirit 

what was suffered to gain for this

bread is a cloud

Sunday

nowhere boy



In her social circle the iconic John Lennon is played by the iconic Aaron Johnson who plays the iconic John Lennon who is played by the iconic Aaron Johnson who plays the iconic John Lennon who is played by somebody

Saturday

where the wild things are

head

head for

where the wild things are

here

hairy

where the wild things are

home

hoary

where the wild things are

cell

you la

usualar

use your lol la

shoo shoo shoo

assume

where the wild things are

hep hep hep hep hep hep done

done

where the wild things are

to

marrow

to

marry

to

mar

where the wild things are
where the wild things are
where the wild things are

Wednesday

bronson

shut und a shave
shIT INa a shave
shitting a shave
shat ina s shhvv
shty as shv-
shat sh sh shav
sha= sh sh shavv
shity shiyt shyv
shaat ant a shat
shava ana shattt
sh vv sh yt shaa
shshyt shya shyt
shia shit shavvv
shat at at shvve
shaata t a ta sv
ssshhht shhhhv t
shat at shiv hsy
ssssh sshhhhhhst
shaaa sha shavee
shavy a shavy a

Sunday

milk

MILK IS FROM A TEAT
ILK IS FROM A TREAT
ILK IS FOR MA TREAT
ILK IS FORM AT TEAR
ILK IS MORF ART EAT
ILK IS MOR RETREAT
LIK IS MORE A TREAT
LIKE IS ME OR TREAT
LIKE HIS METEOR TR
LIKE HIS METIER ROT
LIKEN IS ME TIER TO
LIKENS ME TIE TRUE
LIKENS ME TIRED TO
LIKENS METRO I DIE
LICKEN ME TO RIDEN
LIKEN ME TO RIDDEN
LIE KEN MET OR ID NO
LIE KEEN ME TO RIDE
LIE KEEN METEOR IT
I EKE IN METEOR ORE
EKE IN I ME O THE EAR
EYE KIN MEN O OTHER
YE KIND MEEN OUT HE
YES KIN DEMON OUTH
YE SKIN DEMANDETH
YES KIND MAN DEATH
YES KINK DAMN DEAR
YES KINKY DA MA NED
YES KINKY KY MANED

Friday

hunger

There is no other writing, only this writing.
There is no other phrasing, only this phrasing.
There is no other repeating, only this repeating.
There is no other transcribing, only this transcribing.
There is no other reading, only this reading.
There is no other delivering, only this delivering.
There is no other emphasising, only this emphasising.
There is no other expressing, only this expressing.
There is no other comparing, only this comparing.
There is no other denying, only this denying.
There is no other claiming, only this claiming.
There is no other asserting, only this asserting.
There is no other stating, only this stating.
There is no other recording, only this recording.
There is no other editing, only this editing.
There is no other remarking, only this remarking.
There is no other noting, only this noting.
There is no other observing, only this observing.
There is no other objecting, only this objecting.
There is no other meaning, only this meaning.
There is no other saying, only this saying.
There is no other rhyming, only this rhyming.
There is no other stressing, only this stressing.
There is no other enforcing, only this enforcing.
There is no other leading, only this leading.

(After Margaret Thatcher)