The book, Loving: A Photographic History of Men in Love 1850s-1950s (5 Continents Editions), is available online. When we see them as connected, we feel more whole, and that’s what love is about for many of us anyway. Seeing ourselves in the past is as much about being certain of our present and, dare I say, our future.
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What do images of men in love during a time when it was illegal tell us? What are we looking for in the faces of these people who dared to challenge the mores of their time to seek solace together? Flipping through the book, it wasn’t that I felt that I learned a great deal about being LGBTQ, but what gave me comfort was the feeling that we’re not going anywhere. While the majority of the images hail from the United States and are of predominantly white men, there are images from Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Latvia, and the United Kingdom among the cache.
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The collection belongs to Hugh Nini and Neal Treadwell, a married couple who has accumulated over 2,800 photographs of “men in love” during the course of two decades. In Loving: A Photographic History of Men in Love 1850s–1950s, hundreds of images tell the story of love and affection between men, with some clearly in love and others hinting at more than just friendship. Hunter” (image courtesy of the Nini-Treadwell Collection © “Loving” by 5 Continents Editions)Ī beautiful group of photographs that spans a century (1850–1950) is part of a new book that offers a visual glimpse of what life may have been like for those men, who went against the law to find love in one another’s arms. It's unfortunate that Netflix canceled this underrated show after just two seasons.Postcard, circa 1910, 90 x 141 mm, note on front: “E.
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The joy of the series is in the updated casting, DeWanda Wise's Nola beams with wisdom, fear, artistic knowledge, and carnal desire, while the men and women in her life are fleshed out and… fleshed out, allowing the many sex scenes to play to the senses while reaching for something deeper. Lee's signature, syncopated style-bright colors, up-close-and-personal confessionals, jolts of pop music and album art, Bruce Hornsby's melancholy piano filling the gaps-is intact, tracking Nola through the gentrifying brownstone labyrinth of Fort Greene.
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But who is she? Spike Lee made his directorial debut with 1986's She's Gotta Have It, and 30 years later, expands the character study into his first TV series, a rhythmic exploration of sex, Brooklyn, and Black life. Nola Darling is an artist, an activist, a Brooklynite, and a sex-positive polyamorous pansexual with three emotionally volatile boyfriends.
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Campion's direction is dangerously erotic, while Benedict Cumberbatch gives one of his all-time great performances as a man so uncomfortable in his own skin he inflicts his pain upon others.
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He is similarly inclined to do that to her son, Peter (Kodi Smit-McPhee), who arrives at the ranch on summer holiday from college studies, but instead decides to take him under his wing, figuring he can mold him into the kind of man he thinks is worth being. He worships a rider named Bronco Henry and calls his softer brother George (Jesse Plemons) "fatso." When George marries a widowed innkeeper (Kirsten Dunst), Phil makes it his mission to mentally torture her.
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Benedict Cumberbatch plays Phil Burbank, a rancher who prides himself on the dirt under his fingernails and his ability to live with as few amenities as possible. The Piano director Jane Campion's return to feature filmmaking after more than a decade away is an absolute triumph, a chilling exploration of a man driven to cruelty by the pursuit of a masculine ideal in the American West.