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Director of the Office of Management and Budget Mick Mulvaney | 7/25/17 (Official White House Photo by Evan Walker)
Chris Scolese, Center Director of NASA Goddard's Space Flight Center in Greenbelt, MD.
Credit: Credit: NASA/Goddard/Bill Hrybyk
Actor/Director/Model
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www.facebook.com/ryananthonywilliamsofficial/?pnref=story Lafreniere Park
Metairie, Louisiana
East bound near Bena Ca. I think The special was going to the super bowl in Tempe Arizona in Jan 1996'
Strobist Info: 2 sb80dx's, 1 on stand camera right through white umbrella, 1/2 power, 1 on stand camera left with DIY snoot, full power, 1 triggered with DIY sync cord the other slaved.
Its been awhile since I have posted due to the fact that I must wait to post things on Flickr until after they have run in print.
030707-Wilmington, DE-09ll.Bailey-Stephen Bailey, interim executive director, poses for a portrait in the theater at The Grand Opera House in Wilmington Wednesday March 7, 2007. The News Journal/Matthew Jonas
Learn how to light at Strobist.
The director had me dress for the part of a trans girl then took me on a date , I was his very willing lover !
From the collection of my late friend Dave Fenton. As this is 1958, it must have been taken by his Dad, but we know the location is Trafford Park.
The loco is one of Robinson's wonderful improved "Directors" or D11's, that eked out their last days out usefully on the old Cheshire Lines.
62661 was built in 1920 as Great Central no.507, "Gerard Powys Dewhurst." Her LNER no. was 5507 and she was scrapped in November 1960.
Note the ex-GCR "pom-pom" 0-6-0 behind her.
Soviet postcard by Izdatelʹstvo 'Planeta' Fabrika Fotopečati, Moscow, no. 32, 1978. Photo: G. Aleksandrova. This postcard was printed in an edition of 25.000 cards. The price was 8 kop. Caption: S. M. Eisenstein in Mexico, 1931.
Sergei Mikhailovich Eisenstein (1898-1948) was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, tr. Sergey Mikhaylovich Eizenshteyn) was born in 1898 in Riga, Latvia (then part of the Russian Empire in the Governorate of Livonia). He was the son of the famous architect Mikhail Osipovich Eisenstein. Eisenstein was raised as an Orthodox Christian but became an atheist later in life. As a young man, Eisenstein attended the Institute of Civil Engineering in Petrograd. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In 1920, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and later as a director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own 'The Montage of Attractions, written for art journal LEF. He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion. The 'montage of attractions' is a sequence of pictures whose total emotional effect is greater than the sum of its parts. Eisenstein's and Kuleshov's individual writings and films are the foundations upon which Soviet montage theory was built, but they differed markedly in their understanding of its fundamental principles. Eisenstein's articles and books, particularly 'Film Form' and 'The Film Sense', explain the significance of montage in detail. He later theorised that this style of editing worked in a similar fashion to Marx's dialectic.
In 1923, Sergei Eisenstein made his first film, the short Dnevnik Glumova/Glumov's Diary. It was part of the theatre production 'Enough Stupidity in Every Wise Man' (Na vsyakovo mudretsa dovolno prostoty), an 1868 comedy by Alexander Ostrovsky made for the Proletkult organisation. Glumov's Diary marks Eisenstein's transition from theatre stage director to film director. Eisenstein's next film, Stachka/Strike (1925) was his first full-length feature film. The film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. The film is most famous for a sequence near the end in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered. Bronenosets Potyomkin/Battleship Potemkin (1925) was critically acclaimed worldwide. It presents a dramatised version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers. Mostly owing to this international renown, he was then able to direct Oktyabr': Desyat' dney kotorye potryasli mir/October: Ten Days That Shook the World (1928), as part of a grand tenth-anniversary celebration of the October Revolution of 1917. Then he directed Staroye i novoye/The General Line/Old and New (Sergei Eisenstein, Grigori Aleksandrov, 1929), a celebration of the collectivisation of agriculture. In these films, Eisenstein did not use professional actors. His narratives eschewed individual characters and addressed broad social issues, especially class conflict. He used groups as characters, and the roles were filled with untrained people from the appropriate classes; he avoided casting stars. While critics outside Soviet Russia praised these works, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded directors such as Vsevolod Pudovkin and Alexander Dovzhenko under fire from the Soviet film community. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphors in his 'intellectual montage' sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how the film could move beyond its nineteenth-century predecessor, the Victorian theatre, to create abstract concepts with concrete images. The attacks of the Soviet film community forced him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of socialist realism.
In the autumn of 1928, with October still under fire in many Soviet quarters, Sergei Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse. Officially, the trip was supposed to allow the three to learn about sound film and to present themselves as Soviet artists in-person to the capitalist West. For Eisenstein, however, it was an opportunity to see landscapes and cultures outside the Soviet Union. He spent the next two years touring and lecturing in Berlin, Zürich, London, and Paris. In Switzerland, Eisenstein supervised an educational documentary about abortion, Frauennot – Frauenglück/Women's Misery - Women's Happiness (Eduard Tissé, 1929). In late April 1930, film producer Jesse L. Lasky, on behalf of Paramount Pictures, offered Sergei Eisenstein the opportunity to make a film in the United States. Paramount proposed a film version of Theodore Dreiser's 'An American Tragedy'. Eisenstein completed a script but Paramount disliked it and, Paramount and Eisenstein annulled their contract. Charles Chaplin recommended that Eisenstein would meet with American socialist author Upton Sinclair. Sinclair's works were widely read in the USSR and were admired by Eisenstein. Sinclair secured permission for Eisenstein to travel to Mexico to make a film produced by Sinclair. Whilst in Mexico, he mixed socially with Frida Kahlo and Diego Rivera. However, ¡Que viva México! met many problems and Sinclair shut down production before the film was finished. In 1978, Gregori Aleksandrov released his own version of ¡Que viva México!, which was awarded the Honorable Golden Prize at the 11th Moscow International Film Festival in 1979. Eisenstein's foray into the West made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear. He spent some time in a mental hospital in Kislovodsk in July 1933, ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage. He was subsequently assigned a teaching position at the State Institute of Cinematography where he had taught earlier, and in 1933 and 1934 was in charge of writing the curriculum.
Finally, Sergei Eisenstein was able to ingratiate himself with Stalin for 'one more chance', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev. He was assigned a co-scenarist, Pyotr Pavlenko, to bring in a completed script; professional actors to play the roles including Nikolai Cherkasov in the title role, and an assistant director, Dmitri Vasilyev, to expedite shooting. The result, the historical drama Alexander Nevsky (1938) was critically well-received by both the Soviets and in the West and won him the Order of Lenin and the Stalin Prize. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263). Eisenstein returned to teaching and was assigned to direct Richard Wagner's 'Die Walküre' at the Bolshoi Theatre. With the war approaching Moscow, Eisenstein was one of many filmmakers evacuated to Alma-Ata, where he first considered the idea of making a film about Tsar Ivan IV. Eisenstein corresponded with Prokofiev from Alma-Ata and was joined by him there in 1942. Prokofiev composed the score for Eisenstein's film epic Ivan Grozniy/Ivan the Terrible and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing. Eisenstein's film Ivan Grozniy/Ivan the Terrible, Part I, presenting Ivan IV of Russia as a national hero, won Stalin's approval and a Stalin Prize. The sequel, Ivan Grozniy/Ivan The Terrible, Part II, however, was criticised by various authorities and went unreleased until 1958. All footage from Ivan The Terrible, Part III was confiscated whilst the film was still incomplete, and most of it was destroyed, though several filmed scenes exist. In 1934, in the Soviet Union, Eisenstein married filmmaker and screenwriter Pera Atasheva. There have been debates about Eisenstein's sexuality, with a film covering Eisenstein's homosexuality allegedly running into difficulties in Russia. According to film critic Vitaly Vulf, the 10-years-long Eisenstein-Aleksandrov "friendship is still a subject of speculation and gossips, although there is no evidence they had had a sexual relationship". Eisenstein suffered a heart attack in 1946 and spent much of the following year recovering. He died of a second heart attack in 1948, at the age of 50. His body had lain in state in the Hall of the Cinema Workers before being cremated and his ashes were buried in the Novodevichy Cemetery in Moscow.
Sources: Michael Kaminsky (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The Hopefully a sculpture outside the Ustinov Studio a side studio of the Bath Theatre Royal. It is theatre is named after actor Peter Ustinov, the sculpture depicts a bronze angel and steel bird not pictured and was designed by Peter's son Igor Ustinov. On Monmouth Street in Bath, Somerset.
In 1997 the Ustinov Studio was built at the rear of the Theatre Royal. The 150-seat auditorium was originally a space for the youth theatre and small-scale touring productions, but the Ustinov programme soon expanded to encompass classical concerts, stand-up comedy (including high-profile acts such as Bill Bailey, Stewart Lee and Lucy Porter) and in-house productions. To accommodate the technical needs of these productions, a refurbishment was planned to take place throughout 2007, improving the backstage & technical facilities, the foyer, bar and auditorium. The Ustinov Studio re-opened in February 2008, with their own production of Breakfast With Mugabe, starring Joseph Marcell, Miles Anderson and Nicholas Bailey.
As of 2015, the studio is led by the Artistic Director Laurence Boswell. In the 2012 American Season at the Ustinov Studio, Sarah Ruhl's In the Next Room (or The Vibrator Play) was the winner of the Best New Play — Theatre Awards UK 2012 and nominated for three Tony Awards. The Ustinov Studio was also nominated for the prestigious Empty Space ... Peter Brook Award 2012. The Daily Telegraph's Dominic Cavendish praised the venue as a "constantly bubbling fount of marvels" at the awards ceremony. The Ustinov also received a second consecutive nomination for the 2013 awards.
In Autumn 2013, the Ustinov presented The Spanish Golden Age Season, three new translations of rarely seen plays. These included the tragedy Punishment without Revenge, and the romantic comedies Don Gil of the Green Breeches and A Lady of Little Sense, which ran in repertory with a cast of ten actors in all three plays between September and December 2013. It was later transferred to the Arcola Theatre.
In Summer 2014, the Ustinov Studio presented a new comedy, 'Bad Jews', and in November of the same year, a black comedy by Florian Zeller, 'The Father' starring Kenneth Cranham. Both of these plays have gone on to huge national and international success in following two years, running almost continuously on several tours and West End transfers, culminating in Kenneth Cranham winning the Olivier Award for Best Actor in a Play at the 2016 Awards Ceremony.
Chris Scolese, Center Director of NASA Goddard's Space Flight Center in Greenbelt, MD.
Credit: Credit: NASA/Goddard/Bill Hrybyk
Managing Director Kristalina Georgieva and the IMF delegation walking between meetings and bilaterals.
IMF Photo/Kim Haughton
20 September 2022
New York, New York, United States
Photo ref: KH220920053.jpg
Managing Director Kristalina Georgieva takes a call during breaks between meetings and bilaterals.
IMF Photo/Kim Haughton
20 September 2022
New York, New York, United States
Photo ref: KH220920055.jpg
While working on the music video for our friend Desmond Myers (his name may sound familiar if you've followed us for a while, we've been lucky enough to know this fellow since pretty much Day 2 in LZP), we've been lucky enough to work with this fellow... this fellow being Alexandre Humbert (alexandrehumbert.com/)! He's been a ridiculously passionate artist to work with and he's a perfect fit for our bud, Dez. Definitely looking forward to continuing to wrap the week out with them and hope it's just the first time our paths cross!
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Pictured: UN Women Executive Director Sima Bahous visits the Palanca – Mayaki-Udobnoe Border crossing in southeastern Moldova where thousands of refugees arrive every day to escape the war in Ukraine. She spoke to the border police, volunteers and the refugees crossing the border. “What I have seen here is a very dignified, organized, and disciplined reception of mostly women and children. UN Women is supporting the efforts here and collaborating with the police and government of Moldova. The important thing is that, as UN Women and the UN System, we ensure that the refugees are protected and well taken care of, and that women are engaged as leaders in the response.”
The Executive Director visited the Republic of Moldova from 8 to 10 April 2022 to reaffirm UN Women’s commitment as a key partner to advance gender equality and women’s leadership in the country. During her visit, Bahous emphasized UN Women’s determination to support Moldova’s efforts as a host country to the thousands of refugees fleeing the war in neighbouring Ukraine.
In cooperation with local authorities and civil society organisations, UN Women supports 2000 refugee women and their children in temporary placement centres in Moldova by providing most essential needs. In coordination with the border police, UN Women provided wheelchairs and walkers to assist elderly people and women with small babies at the border crossings. Meanwhile, through the Women, Peace and Humanitarian Fund, UN Women is financially supporting civil society organisations to raise awareness about sexual and gender-based violence and respond to the most urgent needs of women and children.
UN Women is working with partners to ensure that there is up-to-date data on and analysis of the gender dynamics of the refugee crisis which is critical for supporting humanitarian actors in ensuring a gender-responsive refugee response. UN Women and IOM issued a survey which offers important data and analysis on refugee needs, intentions and displacement patterns.
Photo: UN Women/Aurel Obreja