Jameson Movie Quotes

I was just turned last week. I'm a librarian." He stilled, as if I'd just told him I was the inventor of the tube top. "I watched a movie about a librarian once. Well, she was a librarian by day, a call girl by--" I stopped him with a quick lift of an eyebrow. "If you finish that sentence, we cannot be friends.

We finally settled on Francis Ford Coppola's version of Dracula, which, unfortunately, Gabriel seemed to think was a comedy. I think it was the combination of Keanu Reeves's British accent and Gary Oldman's elderly Count Dracula hairstyle. They're just misleading.

How the Hell is it we go to pick up Jenna Jameson and end up with the fucking chick from those Kill Bill movies?

Got a hot date tonight, Sarge?” Ro chuckled as he handed Syn the next group of Illustra’s entertainers that were being picked up for questioning. Syn flushed but chose to ignore Ro’s smug grin. “Shut up,” he mumbled, and flipped open the next file. He flinched so hard his neck popped. Syn’s breath caught at the image that stared back at him. “Oh yeah. This is the one I wanted to mention, he might be a prime suspect.” Syn threw his hand up, stopping Ro. This couldn’t be happening. “I thought we’d concluded that the killers were women from that crazy-ass men-bashing group, BTNS?” “Yes, we did. But hear me out; there may be more players in this. Starman was definitely taken out by women but he could’ve been set up by others. This guy's name is Furious Gray Barkley. During questioning, the owner of Illustra, Johnathan Mack said that Furious Barkley, who performs as Furious Styles, was scheduled to do a movie with Sasha Pain but declined. Furious’ replacement was our vic.” Ro rubbed his smooth face and kept talking, oblivious to Syn’s inner turmoil. “Kicker is, although this Furious Gray Barkley has no priors, he’s also known as Furious Gray Nicks. Husband to Patrick Nicks. That image there is a photo that was given to the Charlotte Mecklenburg Police Department when Furious’ husband filed a missing persons on him almost a year ago. Furious is on the run and I want to know why. I contacted the husband but had to leave a message. I already sent Jameson to pick him up. He works at a pub in ... hmmm.” Ro’s eyebrows rose. “In your neighborhood.

Fredric Jameson and others have detailed the operation of a cultural prohibition, at the structural level, on even the imaging of alternatives to the desolate insularity of individual experience within the competitive workings of capitalist society. possibilities of non-monadic or communal life are rendered unthinkable. In 1965, a typical negative image of collective living was, for example, that of the Bolsheviks moving sullen working-class families into Doctor Zhivago's spacious and pristine home in the David Lean movie. For the past quarter-century, the communal has been presented as a farm more nightmarish option. For example, in recent neoconservative portrayals of the Chinese Cultural Revolution, measures taken against private property and class privilege on behalf of collective social formations are equated to the most monstrous crimes in world history. On a smaller scale, there are the countless narratives of cult-like communes of obedient converts ruled by homicidal madmen and cynical manipulators. Echoing bourgeois fears in the late nineteenth century following 1871, the idea of a commune derived from any form of socialism remains systemically intolerable. The cooperative, as a lived set of relations, cannot actually be made visible -- it can only be represented as a parodic replication of existing relations of domination. In many different ways, the attack on values of collective and cooperation is articulated through the notion that freedom is to be free of any dependency on others, while in fact we are experience a more comprehensive subjection to the 'free' workings of markets. As Harold Bloom has shown, the real American religion is 'to be free of other selves.' In academic circles, the right-wing attach on the cooperative is abetted by the current intellectual fashion of denouncing the idea or possibility of community for its alleged exclusions and latent fascisms. One of the main forms of control over the last thirty years has been to ensure there are no visible alternatives to privatized patterns of living.

King Kong is many things, but at the bottom it’s a lament for the end of the Age of Exploration. The westerners couldn’t be made until the closing of the West. And King Kong couldn’t be made until technology had domesticated nature. We scour the globe but only find ourselves, and like Alexander the Great, we despair. There are no new lands for us to conquer.