YEAAAH FRENCH CITY IN DA HOUSE

WELCOME TO Yea Forums BITCHES

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No. Maskposters already won and Sneedcucks are in max cope mode.

Mask posters are delusional and think they killed a meme that's been around for years overnight, sneedchads just enjoying the show

>maskposting is already dying
>sneedposting is still going strong
The only coper here is you

Fils Du Masque (2005) dir. Lawrence Guterman

>dying
its dead

at least pestposting was mildly amusing
this is utter cringe

t. actual cringe

so Yea Forums finally hit creative rock bottom

Yep, it's dead. That's why the jannies spent all night deleting massive Mask threads and Sneedcucks are so panicked and defensive. Cope harder, gimp.

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Fuck the mask and fuck anime

Sneed4lyfe

Why can't I get this shit out of my head

I woke up at around 2am last night and had it throbbing in my head over and over

>Ya jus' too good ta' be true
>Can't take ma eyez offa you
Who else dabbed?

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because this is the part where you boogie.

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That's the curse of the mask. "My bad"

I LOVE YOU BAAAAAABY

Its still a mystery to me why this movie was made in the first place.

Mask posting will never last for one key reason. You don't have your hook phrase to post in every non mask related thread. You don't have you "BANE" or "why does he wear the mask" or "Sneed" catch phrase to spam. Until you get that, dead meme walking

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''my bad''

"My bad"

"my bad"

THEN SHOW ME ITS BODY

>The End of Sneedgelion
"My Bad"

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''my bad''

"my bad"

Cringe. You keep posting this when people keep proving wrong, do you have no shame? Find another angle to try and discredit us Maskbros.

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Cringe

Let me see some ID

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Whatever this won't last. One trip to irc and all your mask memes are filtered don't cross me.

Why did you set this up, mask poster in disguise?

The winner of the Nintendo Power contest was threatening legal action.

"My bad"

>don't cross me.
"My bad, nigga dayum"

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Can't believe they got Raimi on this.

"my bad"

>Don't you just love Halloween?(Will also take off in October)
>Trick R' Treat(See above)
>"My bad"
>The ID/IV mix up
>I LOVE YOU BAAAABY
>"MY BAD"
>Who's that green guy
>Little gems like Limbo Frankenstein, the dancing Cars
I could go on. It's a goldmine. Mask is here to stay.

It's Fringe City idiot. Didn't you watch the movie?

I thought it was Booty City

>He boogied?

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ICE THIS DEADBEAT

my favorite part of the song

Based

et

THANK YOU GOD!

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sneed

aaAAaaah :D

reminder that he fucked JLH after making son of mask and you are still an incel

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Sneed

Is Avery really that much shorter than Ipkiss?

youtu.be/XbtTTxFbNQU
NOW LETS _ _ _ _ _ _ THIS JOINT

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>6'0
>6'2'
yes

You’re judging from the top of Avery’s hair to the top of where Ipkiss’s head disappears under the hat. There’s gotta be at least 5” between their scalps

smokin and boogiepilled

>SOMEBODY STOP ME
I feel like the mask went beyond his usual existential self in this scene; he wants to apply the brakes on the meaningless of life and his place in it entirely.
A real turning point in the film.

A fun fact, Georges Cravenne, the creator of the prestigious César Award, said that he was inspired to create a high class film award for France, their Oscar equivalent,
upon viewing a re-release of Le Masque during the early 1970s. He said when he witnessed Jaques le Carré's tortured cry at his own reflection of "SOMEBODY STOP ME",
he immediately thought, we need an award for moments like this, true milestones in French cinema. Le Masque's legacy truly stretches far beyond 1954.

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>5'11'' vs 6'2''

LOW TIER GODS

Is it the most dense scene in kino history?

The mask has split personality. The name “the mask” doesn’t reference a physical mask, but rather the intangible “mask” used to hide this.
The mask clearly has multiple personality disorder: the fact that in one second the mask understands what the bouncer is saying, yet the next second seems to misinterpret it, suggests either a memory disorder or, more likely, a personality disorder.
The difference between the two personalities shown in the start of the scene is clear: one is a duller, more serious personality (now referred to as Kennedy) and the other is a more wacky, zany, more mocking personality (referred to as Carrey). The obvious split is upon the ID/IV gag: Kennedy reiterates what the bouncer asked, so he can be sure to collect the correct item from his pockets, but as he does so the Carrey personality gains the spotlight, and purposely, almost mockingly, pulls out an IV stand. When the guard corrects him, Carrey airquotes the phrase “my bad”. This implies that the mask is attempting to say that, whilst it is his fault, it is not truly his fault, but the fault of one of his many personalities and that he shouldn’t take 100% of the blame. Carrey then attempts to pull another gag, one presumably involving many pairs of trousers as he finds “which one he left it in”, but Kennedy manages to pull back the spotlight and cuts the gag short, procuring the desired identification required to enter the event.
This theory is further supported by the musical number: the song goes through distinct phases, each corresponding to a different genre. During each of these, the titular Mask has a different outfit. This gives weight to the MPD claim, as each section is a different personality controlling our protagonist, and switching the song and the outfit to their favourite. This results in a hodgepodge musical number that’s hard to follow. Furthermore, the different camera angles used suggest a message: each personality views the party, and life, in a different way.

To frame these questions, it is worth first looking at the short story Lacan tells at the beginning of Seminar X, a similar tale to which he referred in the previous year in Seminar IX. Imagine, he says, that I am in a room with a giant female praying mantis 3m tall; and that I myself am wearing The Mask of an animal. The Mask is one like that of the magician from the Paleolithic cave of the “Trois Frères,” which looks like a horned being, half-man, half-animal, and I do not know exactly what animal I am. It is not hard to imagine, he continues, that I would not feel entirely at ease in such a situation, because there is a chance of the female mantis misconstruing my identity. With a certain amount of imagination it is in fact possible to notice a similarity between The Mask of the magician from the engraving and the pointed head and antennae of a praying mantis.

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Slovenian philosopher Slavoj Zizek developed several theories after multiple viewing of «The Son of the Mask». The first one, of course, is the pseudo-Hegelian notion that this gap stands for a "self-alienation" which I should strive to ideally abolish and to fully assume my speech as directly my own. Against this version, one should assert that there is no I which can, ideally even, take the word "directly," by-passing the detour of prosopopeia. Wearing a mask can thus be a strange thing: sometimes, more often than we tend to believe, there is more truth in the mask that in what we assume to be our "real self." Recall the proverbial impotent shy person who, while playing the cyberspace interactive game, adopts the screen identity of a sadistic murderer and irresistible seducer - it is all too simple to say that this identity is just an imaginary supplement, a temporary escape from his real life impotence. The point is rather that, since he knows that the cyberspace interactive game is "just a game," he can "show his true self," do things he would never have done in real life interactions - in the guise of a fiction, the truth about himself is articulated. Therein resides the truth of the charming story like Alexandre Dumas’ The Man Behind the Iron Mask: what if we should turn around the topic according to which, in our social interactions, we wear masks covering out hidden true face? What if, on the contrary, in order for us to interact in public with our true face, we have to have a mask somewhere hidden, deposed, a mask rendering our unbearable excess, what is in us more than ourselves, a mask which we can put on only exceptionally, in the carnevalesque moments when the standard rules of interaction are suspended? In other words, what if the true function of the mask is not to be worn, but to be kept hidden?

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In Charles Russell's The Mask with Jim Carrey (1994), the story of a weak common bank teller again and again humiliated by his peers and women, who acquires extraordinary powers when he puts on an old mysterious mask found on a city beach. A series of details are essential to he story's background. When the mask is thrown on the sea-shore, it sticks to the decaying slimy remainders of a corpse, bearing witness to what remains of the "person behind the mask" after he totally identifies with the Mask: a formless slime like that of Mr Valdemar from E.A. Poe's story when he is resuscitated from death, this "indivisible remainder" of the Real. Another crucial feature is that the hero, prior to acquiring the mask, is presented as a compulsive cartoons-watcher on a TV: what happens to him when he puts on the Mask and when the green wooden Mask takes possession of him, is that he is able to behave, in "real life," as a cartoon hero (dodging the bullets, dancing and laughing madly, sticking his eyes and tongue far out of his head when he is excited) - in short, he becomes "undead," entering the spectral fantasmatic domain of unconstrained perversion, of "eternal life" in which there is no death (and sex), in which the plasticity of the bodily surface is no longer constrained by any physical laws (faces can be stretched indefinitely; I can spit out from my body bullets which were shot into me; after I fell from a high building, flattened on a side-walk, I simply reassemble myself and walk away...). (In a nice bit of irony, just before he puts on the mask, the hero watches on TV a talk show in which a distinguished psychiatrist dr. Arthur Newman, author of a best-seller The Masks We Wear, presents his standard Freudian theory: "We all wear masks, metaphorically speaking. (1/3)

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He cute

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We suppress the Id, our darkest desires, and adopt a more socially acceptable image." What the film demonstrates is the exact opposite: the Id, our darkest desires, dwell in the masks we put on.) This universe is inherently compulsive: even those who observe it cannot resist its spell. Suffice it to recall perhaps the supreme scene of the film in which the hero, wearing his green mask, is cornered by a large police force (dozens of cars, helicopters): to get out of the deadlock, he treats the light focused on him as spotlights on a stage and starts to sing and dance on a crazy Hollywood musical version of Latino seductive song - the policemen are unable to resist its spell, they also start to move and sing as if the are part of a musical number choreography (a young policewoman is shedding tears, visibly fighting back the power of the Mask, but she nonetheless succumbs to its spell and joins the hero in a common dance-and-song number...). (2/3)

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YEAAAH SNEED CHUCKY IN DA HOUSE

Crucial is here the inherent stupidity of this compulsion: it stands for the way each of us is caught in the inexplicable spell of idiotic jouissance, like when we are unable to resist whistling some vulgar popular song whose melody is haunting us. This compulsion is properly ex-timate: imposed from the outside, yet doing nothing but realizing our innermost whims - as the hero himself puts it in a desperate moment: "When I put the mask on, I lose control - I can do anything I want." 'Having control over oneself' thus in no way simply relies on the absence of obstacles to the realization of our intentions: I am able to exert control over myself only insofar as some fundamental obstacle makes it impossible for me to "do anything I want" - the moment this obstacle falls away, I am caught into a demoniac compulsion, at a whim of "something in me more than myself." When the Mask - the dead object - comes alive by way of taking possession of us, its hold on us is effectively that of a "living dead," of a monstrous automaton imposing itself on us - is the lesson of it not that our fundamental fantasy, the kernel of our being, is itself such a monstrous Thing, a machine of jouissance? In the immortal words of Tim Avery, this is the part we boogie. (3/3)

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"My bad"

There's no substance, no zing, no depth. It's just really weak in all honesty.

The most forced meme in recent memory. Do better

''''''my bad''''''

>implying they’re worse than the complete humour void that is “sneed”

"My bad"

«Cын мacки» Лoypeнca Гyтepмaнa, нoмep oдин в миpe, 2005

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based

By putting sneedposters on the defensive with masquino, sneed has already lost. Bravo.

I’ll take this over Sneed but Bateman and Bane will always be my favourite

TICK TOCK SNEEDLETS

Something something wear the mask?

"My Sneed."

>James Cagney and Sterling Hayden pose for premier of Le Fils Du Masque (1949)

>making your meme all about being a sneed counter-effort
lmao

high kek

It's no Jedi Rock, that's for sure

m.youtube.com/watch?v=PiDRgDmXGi4

I remember liking this as a kid but goddamn what was George thinking?

Excellent posts.

Glad to see Yea Forums still has film connoisseurs who can appreciate genius when they see it.

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