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“In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.”
― Alfred Hitchcock, Hitchcock/Truffaut

“Though
the actresses who played female boys were of all ages and performed in a vari-
ety of acting styles, they were generally small, thin, white, and photogenic, and
their performances combined boldness and vulnerability. Their femaleness al-
lowed them to convey fragility and androgynous beauty. These performances
demonstrate that cross-gender casting, which may seem like an inherently
transgressive practice to twenty-first-century scholars, can also uphold conser-
vative gender, class, and racial regimes. At the same time, the performances
cannot be dismissed as reactionary or antifeminist, because they embodied
middle-class women’s sentimental politics and created a space in which wom-
en’s bodies had an important role in producing an idealized masculinity.”
― Laura Horak, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934

“The world has gone silent and black and
white, like a 1920s film, and the subtitles say
someone is screaming. I thought I was on
the train, but no, I'm tied to the tracks. I
thought there was a villain, but no, I tied
myself here. I thought the ropes must be
tight, but no, I could get up, I could go.
The train bears down, and I thought I
would save myself, but no -

the subtitles say someone is screaming.

But my mouth is open, and

nothing

is coming

out.”
― Kristina Mahr, Something Softer