wanderinglust

從幾年前在網路上搜尋到了Douglas Little所開設的精品店，就一直想要撰文寫一下他推出的產品。這念頭到了我最喜歡的Timeless Fragrance 停產都尚未付諸實行。直至最近在倫敦Liberty 百貨公司又看到D. L & Co. 出了許許多多的新貨,再度勾起先前的回憶。雖然我沒有真實地擁有過他的任何一樣產品，超嫌高昂的價格讓人卻步外，還有對於香氛蠟燭的疑慮。每次買了聞起無論是神清氣爽或溫嫩香甜的蠟燭，點燃後都是一貫的著火摻著二氧化碳的焦熱味，也澆滅了購買慾。不過在其他人網誌搜尋時，購買者不斷地讚賞他調配的獨步香味，加上美麗致極的包裝，要不是每次伸手拿起耳邊都要縈繞著殷切的提醒聲，香氛蠟燭是拿來燒的不是放著聞的，否則真想心一橫，買個來燒不就知道會不會香了嗎？

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改編自瑞典小說家John Ajvide Lindqvist所撰寫的暢銷小說《血色入侵》，導演Thomas Alfredson卻是以如同Robert Forst詩作，肅穆平靜、嚴峻寒冬的田園景致去描繪一場屠殺、死亡以與肢解。這絕非是第一部以超自然、血液橫流的手法去浸漬青少年惶惑以及性欲初萌的電影。(例如De Palma 的魔女嘉麗，以及Romeo的Martin，與更晚近的John Fawcett的Ginger Snap皆各自將青春期的騷亂與心靈傳動(telekinesis)，吸血鬼、狼人變身等劃上等號)，但是Alfersibn以令人難忘的且可信的(stringent)的視覺設計讓這部電影與眾不同。

      
從電影初始，螢幕上便充滿著寧靜，翩然降落的雪花，像是喬哀思【The Dead】尾聲餘留的水花，如此可愛卻詭譎的片刻達到了檯面下的驚悚高潮，畫面既田園牧歌卻又寧靜無聲。《血色入侵》意欲將當代的吸血鬼影片推至到饒負詩意的領域。

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Part of Bourgeois identification, then, was a negative one. The very financial and emotional insecurity of the nouvelles couches worked to underscore the image of a single recognizable bourgeois self-image. It was precisely because most of them clustered around the lower edges of the pyramid that they were all the more intent on upholding middle- class morality and middle-class styles of living, even though their showy alliance with more prosperous bourgeois was often subverted by sharp conflicts of interest. They could be more ostentatiously respectable than their betters, more severe with their family about table manners, just as calculating and manipulative to keep their children from marring inappropriate suitors. Shabby gentility was a harsh taskmaster.

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Katherine Moennig

Patti Smith

這一系列的黑白攝影是由Cass Bird替Katherine Moennig 所攝。圖中Katherine Moennig低眉看地，裸身蹲俯於窗台。這姿態不言而喻地透露出向70年代Patti Smith肖像（出自於Robert Mapplethorpe之手）致敬的強烈企圖；Moenning 曾表明，她演藝生涯的最大願望便是有朝一日能夠飾演Patti Smith，這些照片或許能夠補償尚未實現的夢想。

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