He will show how Blue Movie poses questions about modernist city planning in the Bijlmer district, and investigates the message for the nouveau riche of this film.
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He is putting the kid on the couch and the kid is looking at them scared, his bright blue pupils are open and wide and his heart beats are echoes between the boat walls.
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Gario analyses Blue Movie against this background and, through a detour among post-colonial theory and research, raises a number of criticisms of the much-acclaimed Dutch self-image.
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Brilliant yellow, flaming red, neon pink, royal blue, bright green, gold, silver and glitter - it can rarely be too colourful or varied, flying in the face of all notions of good taste.
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There is hardly anything happening, with just a little paint and little thread I can concentrate on the details, to make small areas specific, the lamps in a room or a fern plant in it's blue pot.
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The woman with the long white hair, blue eyes and the toucan on her shoulder became a familiar sight in the streets of Copacabana and she developed a firm friendship with Pijnappel’s mother, Maya.
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All the blueprints and urban planning visions that were developed over the course of time from different political convictions all conflict with one another, and are selectively erased or deployed.
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By sorting through the reanimated archive of the Entropic Meltdown, viewers will discover a galleryscape of unusual forms through which they might experience a kind of happy sadness-not unlike the blues.
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Other fashion manifestations include the winter 1995-96 ‘Pret-a- Porter Catalogue’, a series of blue PVC modules in pants and bodysuits accompanied with white cotton, silk organza, and black wool jackets.
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127, cultural theorist and theatre maker Quinsy Gario examines a Dutch classic: Wim Verstappen and Pim de la Parra’s 1971 erotic blockbuster ‘Blue Movie’, famous primarily for its emphasis on free sex and explicit scenes.
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