1. Kid Cudi Day N' Nite (Screwed)


    from Alexia Bennett / Added

    1 Play / / 0 Comments

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    • Preventivo Copa CCLT


      from Fernando Casanova / Added

      46 Plays / / 0 Comments

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      • Keri Hilson ft. Lil Wayne Turnin Me On (Screwed)


        from Alexia Bennett / Added

        11 Plays / / 0 Comments

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        • Tangled Up in Blue (slowed down [remix])


          from RaccoonsAreNotAfraidofPeople / Added

          20 Plays / / 0 Comments

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          • DO NOT BE ALARMED


            from daniel / Added

            19 Plays / / 0 Comments

            WE ARE HERE FOR YOU. Full Length version of https://vimeo.com/121942015

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            • WE ARE HERE FOR YOU


              from daniel / Added

              27 Plays / / 0 Comments


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              • TV PARTY VOL. 1


                from karina natis / Added

                77 Plays / / 0 Comments

                All Copyrights for Repurposed Content Acknowledged Karina Natis 2015 karinanatis.com

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                • The Room - Drug Dealer Scene Slowed Down 25% ( Denny's In Trouble )


                  from Spike Snell / Added

                  860 Plays / / 0 Comments

                  Why did you do this? You know better right? Why! (I'm sorry!) You know better Denny ahlmost got keuhled! ( I'm sorry, it won't happen again. I promise. )

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                  • Alone Together - Inspired by Nighthawks


                    from Christian Druitt / Added

                    61 Plays / / 0 Comments

                    A moving image inspired by Edward Hopper's Nighthawks. Artist's Statement: For me, Edward Hopper’s 1942 painting, Nighthawks, is about loneliness. All four of the figures it features could be said to look as though they are alone, disconnected from one another, isolated – even though they are all together in a physical space. The figure who is closest to the viewer in the painting, and who has his back turned so that we cannot see his face, seems to be most isolated and tragically alone in the piece. I wanted to explore the relationship between the three “main characters” – the woman in red, the man next to her, and the isolated man – and I thought the best way to do so would be through a vignette of the scene, mainly focusing on their hands on the counter that has brought them together. I decided to focus primarily on the isolated man – the loneliest figure from the piece – and perhaps use the moving image I created to offer one further explanation of his story. I felt that faces were less important to the scene, as it would be too easy to read into the emotions of the characters, and that said emotion might be better expressed through the motions of their hands (or bodies) themselves. Also, faces are the way in which we connect and relate to each other, and so, the viewer, like the isolated man, cannot connect even with the couple that is only a few feet away. (Their connection is kept between themselves.) To reinforce his loneliness, I kept the isolated man’s back turned away from the viewer and juxtaposed him with the couple in the background, as in the painting. I wanted to use the motion of the woman in red and the man sitting next to her talking and laughing with each other to reinforce the isolated man’s loneliness – the couple interacts with each other, while he sits by himself. I have the isolated man rubbing his hands and tapping on the counter to show that he is perhaps anxious, or worried about something. At the end, he takes a photo of a woman out of his pocket and rubs it contemplatively; this is meant to suggest that once, he too had a woman in his life, and he is now left alone to miss her. The photo is in black and white, to keep with the 1940s aesthetic present in the painting. As the isolated man leans forward, his dark shoulder is meant to loom into the scene and draw the focus to the photo he is holding as he eclipses the couple in the background. I made sure to keep the red color of the woman’s clothing to draw the eye to the background initially, and provide further juxtaposition with the dark, huddled mass of the isolated man in the foreground. For my own wardrobe, I made sure to wear dark colors – a black suit jacket and a blue dress shirt – to keep with the wardrobe and colors of the painting. I mimicked as closely as I could the angular shape of the counter, and included two white mugs as props to match the painting and establish more of a diner feel. I tried to replicate the dusky, blue-green shadows and yellowish tones of the painting in the moving image, as well as the harsh, unidirectional lighting, as I believe they reinforce the somber tone of the scene; this was accomplished in part through careful lighting of the space, as well as color grading in editing. For the painting, Hopper used himself as a model for both of the seated men in the scene, and his wife, Jo, as the model for the woman in red – similarly, I used myself as the model for both men in my moving image, and my friend, Kat, as the woman in red. Two shots were painstakingly spliced together in editing in order for all three characters to be visually present in the scene at once. Nighthawks can be seen here: http://www.artic.edu/aic/collections/artwork/111628 , and the original is kept by the Art Institute of Chicago.

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                    • kinette et le soleil


                      from raw4 le souvenir du futur / Added

                      tous les animaux du zoo de la ville sont tristes puis certains pleurent même mais dans la sobriété toujours car c'est dans la sobriété que se voit le plus l'amour et les larmes salées crée des reflets sur la caméra puisqu'elle pleure aussi et n'a pas de cils pour évacuer les larmes car kinette est morte sous le soleil près d'un banc à ste. croix en bresse elle avait trop regardé le soleil en face dans ses yeux hommage de krampf qui a ralenti sans pâté la chanson forbiden kiss de la fille mahaut mondino serre tête à paillettes RIP kinette larme http://24.media.tumblr.com/281b34fff6f65811d3bd03ea26212ca9/tumblr_n51saslOL31tqvmbho1_500.jpg

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