And I’m still the one who’s wrong
(Source: bottlesupbarbie)
“I find the odor of death very erotic. There are death odors and there are death odors. Now you get your body that’s been floating in the bay for two weeks, or a burn victim, that doesn’t attract me much, but a freshly embalmed corpse is something else. There is also this attraction to blood. When you’re on top of a body it tends to purge blood out of its mouth, while you’re making passionate love.”
Karen Greenlee didn’t kill men to get the corpses, but she certainly had an attraction to them once they were dead. In 1979 in California, Greenlee was to deliver the body of a 33-year-old man to a cemetery for a funeral, but instead she drove off in the hearse, abducting the corpse to keep for herself. She was found and charged with stealing a hearse and interfering with a funeral, and apparently it wasn’t the first time she’d felt such a sexual attraction to the dead. Into this casket she had put a long letter that detailed her erotic episodes with what she estimated had been over 20 male corpses. Calling herself a “morgue rat,” she didn’t understand why she felt so compelled to touch dead bodies, but it was an addiction she couldn’t seem to break. Because the letter was found, Greenlee was kicked out of the profession. In an interview later with Jim Morton, she told him that the erotic moment involved the entire atmosphere: the aura of death, the smell, the funeral home, the mourning, and all the trappings. It wasn’t just about sexual stimulation, it was about a complete mindset. She enjoyed the odor of the freshly embalmed corpse of a male in his twenties, and even the blood that might come out of his mouth as she got on top of him. She admitted having broken into some mortuaries and tombs in order to pursue her habit, and once she was nearly caught with the goods. Ashamed at first, she’d later accepted her desires.
(Source: ramirezdahmerbundy)
walt disney + salvador dalí : destino
dir.: dominique monfery
2003
the film tells the story of chronos, the personification of time and the inability to realize his desire to love for a mortal. the scenes blend a series of surreal paintings of dali with dancing and metamorphosis. the target production began in 1945, 58 years before its completion and was a collaboration between walt disney and the american spanish surrealist painter, salvador dalí. salvador dali and walt disney destiny was produced by dali and john hench for 8 months between 1945 and 1946. dali, at the time, hench described as a “ghostly figure” who knew better than dali or the secrets of the disney film. for some time, the project remained a secret. the work of painter salvador dali was to prepare a six-minute sequence combining animation with live dancers and special effects for a movie in the same format of “fantasia.” dali in the studio working on the disney characters are fighting against time, the giant sundial that emerges from the great stone face of jupiter and that determines the fate of all human novels. dalí and hench were creating a new animation technique, the cinematic equivalent of “paranoid critique” of dali. method inspired by the work of freud on the subconscious and the inclusion of hidden and double images.
dalí said: “entertainment highlights the art, its possibilities are endless.” the plot of the film was described by. dalí as “a magical display of the problem of life in the labyrinth of time.”
walt disney said it was “a simple story about a young girl in search of true love.”
