View allAll Photos Tagged IVAN
O amor é o meu país
(Ivan Lins / Ronaldo Monteiro de Souza)
Eu queria, eu queria, eu queria
Um segundo lá no fundo de você
Eu queria me perder, ah! me perdoa
Porque eu ando a toa sem chegar
Quão mais longe se torna o cais, lindo é voltar
É difícil meu caminhar, mas vou tentar
Não importa qual seja a dor,
Nem as pedras que eu vou pisar
Não me importa se pra chegar
Eu sei, eu sei
De você fiz o meu país
Vestindo, festa e final feliz
Eu vi, eu vi
O amor
É o meu país
Sim, eu vi
O amor
É o meu país
Zagreb, Ribnjak Park - Sculpture by Vojin Bakić
spomenik.pbworks.com/w/page/40392636/Vojin%20Baki%C4%87%3...
Ива́ново де́тство
Andriej Tarkowski
Ivan's Childhood (1962)
Audio cassette
Dialogues & Music
Dialogues : Kolya Burlyayev / Valentin Zubkov / Evgeny Zharikov / Stepan Krylov / Nikolai Grinko
Music : Vyacheslav Ovchinnikov
Duel by Darja Popolitova www.popolitova.com
model: Ivan (Star System Estonia)
make up: Lydia Feodora Jakson
Studio: www.jevi.ee
Russian postcard, no. 1011.
Russian actor Ivan Mozzhukhin (in French Ivan Mosjoukine and in German Iwan Mosjukin) (1889-1939) was a legendary star of the European silent film, who shone in Russia, France, Germany and Austria, but suffered in Hollywood.
Ivan Ilyitch Mozzhukhin (Иван Ильич Мозжухин in Russian, or Iwan Mosjukin, as he was called in Germany, or Ivan Mosjoukine in France) was born in the village of Kondol, Saratov province, Russian Empire (now Penza province, Russia) in 1889. His father was general manager of the large estate of Prince Obolensky. Mozzhukhin attended a Gymnasium in Penza, then studied law at the Moscow State University for two years. There he was active in amateur stage productions. He joined a touring troupe, then returned to Moscow and was a member of Vvedensky Narodny Dom Theatre. He made his film debut in 1908. From 1911 to 1914 he worked in the silent films of producer Aleksandr Khanzhonkov. Mozzhukhin shot to fame after his leading role as violinist Trukhachevsky in The Kreutzer Sonata/Kreitzerova sonata (Pyotr Chardynin, 1911), based on the eponymous story by Leo Tolstoy. He starred as Admiral Kornilov in Oborona Sevastopolya/Defence of Sevastopol (Vasili Goncharov, Aleksandr Khanzhonkov, 1911). This was the first film ever that was shot by two cameras. Next, he appeared in the delightful comedy Domik v Kolomne/The Kolomna House (Pyotr Chardynin, 1913) after a poem by Alexander Pushkin. He would star in about thirty more silent Russian films made by Chardynin, Khanzhyonkov, and Yevgeni Bauer. His film partners were Diaghilev's ballerina Vera Karalli and his wife Natalya Lyssenko (billed in France as Nathalie Lissenko).
By the mid-1910s, Ivan Mozzhukhin had become the indisputable leading star of the Russian cinema. His facial expressions were studied by many actors and directors as exemplary acting masks. From 1915 till 1919 he worked in about 40 films by directors Yakov Protazanov and Viktor Tourjansky under the legendary Russian producer Joseph N. Ermolieff. His best-known films of this period were Pikovaya dama/The Queen of Spades (Yakov Protazanov, 1916) after Pushkin, Nikolay Stavrogin (Yakov Protazanov, 1915) after Fyodor Dostoyevsky, and Otets Sergiy/Father Sergius (1917, Yakov Protazanov, Alexandre Volkoff). The reviewer at IMDb writes that the film "has many uncommonly modern characteristics. Besides the daring subject, it has a rather strongly developed lead character, good storytelling and cinematography, and a script which deals with human emotions without being exploitative or sentimental. Altogether it has a very modern touch to it for a movie made in 1917, (...) a prime example of the art film movement of pre-soviet Russia." Mozzhukhin's incredible popularity brought him significant wealth, that came with attendant pressure; he also became famous for his numerous love affairs with his admirers.
In 1918, the Russian Communist Revolution already caused irreversible destruction of cultural and economic life, and Ivan Mozzhukhin moved under the protection of the White Russians in Yalta, Crimea. Soviet director Lev Kuleshov assembled his revolutionary illustration of the application of the principles of film editing out of footage from one of Mozzhukhin's Tsarist-era films which had been left behind. Mozzhukhin's face in the recurring representation of illusory reactions demonstrated in Lev Kuleshov's psychological montage experiment 'the Kuleshov Effect'. Meanwhile, Mozzhukhin worked for the Ermolieff film company in Crimea. After the Revolution, in early 1920, he left Russia together with his wife Nathalie Lissenko and his partners from Ermolieff. They emigrated together to France and started in Paris a Russian-French film company. Paris became the new capital for most of the exiled former aristocrats and other refugees escaping the civil war and Bolshevik terror gripping Russia. In France, Ivan Mozzhukhin changed his name into Ivan Mosjoukine. Handsome, tall, and possessing a powerful screen presence, he won a considerable following as a mysterious and exotic romantic figure. He starred in hits like the innovative murder mystery La maison du mystère/The Mysterious House (Alexandre Volkoff, 1923), Kean/Edmund Kean: Prince Among Lovers (Alexandre Volkoff, 1924), the lavish adventure spectacle Michel Strogoff/Michael Strogoff (Victor Tourjansky, 1926) based on the Jules Verne novel, and the humorous and visually splendid Casanova/The Loves of Casanova (Alexandre Volkoff, 1927). His face with the trademark hypnotic stare appeared on covers of film magazines all over Europe. He wrote the screenplays for most of his starring vehicles and directed two of them, L'Enfant du carnaval/Child of the Carnival (1921) and Le Brasier ardent/The Blazing Inferno (1923).
After the death of Rudolph Valentino, Ivan Mozzhukhin got a lucrative contract with Universal Pictures. He was cast as a male lead in Surrender (Edward Sloman, 1927). However, his stint in Hollywood, was not a success, due to numerous pressures from producers who insisted on changing his name to John Moskin and on plastic surgery to shorten his nose. This operation caused a permanent change in his natural facial expression. In addition to the emotional pains of plastic surgery, and changes to his facial features, he suffered from the lack of chemistry with his non-responsive co-star, Mary Philbin. At that time Hollywood was already shifting to sound film, and Mozzhukhin, who did not speak English, was not offered any more roles. He returned to Europe. Artist and longtime friend Aleksandr Vertinsky commented later on Mozzhukhin's suffering in Hollywood, that it was "a conspiracy to destroy the strong competitor". Ivan Mozzhukhin continued to star in sound films like Sergeant X (1932, Vladimir Strizhevsky), albeit with a smaller success. He also wrote screenplays for several of his films. His final film was Nitchevo (Jacques de Baroncelli, 1936). By then his filmography included over 100 films made in Russia, France, Italy, United States, Germany, and Austria. He planned to direct a film in France, but he contracted a severe form of tuberculosis. Ivan Mozzhukhin died in a Neuilly-sur-Seine clinic in 1939. He was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois in Paris. His home in Kondol, Russia is now restored as a public Memorial Museum of Ivan Mozzhukhin. Since the 1990s, the museum is having an annual Mozzhukhin film show also known as Mozzhukhin's Festivities.
Sources: Steve Shelokhonov (IMDb), Sandra Brennan (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Illustration in Animal tales: an Anthology of Animal Literature of all Countries by Ivan Terence Sanderson. New York: A.A. Knopf, 1946. QL 791 .S37
"and then, when you were 2 months old we picked you up to take you home to your new house! But the little boy at your old house said, 'oh, well, he doesn't like to ride in ca-a-a-ars.' and we were like, 'Oh really. Well. That's about to change.'"...
Ivan Busic Neto (born on February 15, 1967 in São Paulo, Brazil) is a Brazilian drummer who has worked with such bands as Dr. Sin, Ultraje a Rigor, Taffo, Supla and Eduardo Araújo. Almost all his works, he worked with his brother Andria.
© Iván Pawluk , reservados todos los derechos / all rights reserved
Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported (CC BY-NC-ND 3.0)
PHOTOGRAPHY by Iván Pawluk is licensed under a Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported License.Creado a partir de la obra en www.flickr.com/photos/pawluk/ .Permissions beyond the scope of this license may be available at www.flickr.com/photos/pawluk/ .
Follow me
PHOTOGRAPHY
FLICKR PHOTOGRAPHY | BLOG PHOTOGRAPHY | TUMBLR PHOTOGRAPHY | 500px |
DIGITAL ART
FLICKR ART | BLOG ART |
SOCIAL
IVANPAWLUK.COM | BEHANCE | FACEBOOK | TWITTER | SHADOWNESS |
Ivan fits one of the sweaters I knit awhile ago. Too bad I placed the sleeves so far forward, or this might be perfect on him.
Ivan is a Hot Toys Loki on the HT True Type Slim body
Sweater knit by me
Pants from Disney Store Flynn Rider (wedding version)
Striped shirt from a 1990s Barbie fashion
Shoes from Moxie Teenz Gavin (there are two right-shoes, no lefts!)
"Ivan"
Edition of ten.
5.25" × 8.5"
Digital print with archival ink on archival velvet fine art stock.
Signed, dated, and numbered.
… (all devotees of St. Agatha, portrait) ….
.… (tutte devote di Sant' Agata, ritratto) ….
-----------------------------------------------------
--------------------------------------------------------------------------
Fear of the unknown, the fear of losing own physical or mental health, or worse, having already lost it, possible problems with work (if a work has it), old age advancing, awareness of the existence of a Higher Being, are just some of the reasons that push people to search for a contact with the Divine, with the supernatural, leading them to plead for help, but this is not enough to completely explain the close link fact of absolute devotion and enormous affection that the people of Catania (province) have towards their young martyr Agatha; an entire city partecipate in these days to ceremony and procession, one can not help but ask this question, what binds in such a profound and peculiar citizens to their Patron Saint Agata? Maybe I was lucky enough to capture photographically what is a partial response: a child at a very early age is brought to the window from her mother while passing the float of St. Agatha, so it's easy to understand... the devotion and attachment to the Martyr starts very young , transmitted by their parents as a treasure to be preserved and grow throughout their lives, which leads you in the days of the feast to a great collective.
This is a short-long report I did this year 2016, in the city of Catania (Sicily) in occasion of the feast of her patron saint Agatha, which took place on the 3, 4 and 5 February (this dates commemorates the martyrdom of the young Saint), and on 17 August too (this date celebrates the return to Catania of her remains, after these had been transferred to Constantinople by the Byzantine general Maniaces as war booty, and there remained for 86 years), when the Sicilian city is dressed up to feast, with a scent of orange blossom and mandarins, and its citizens show that they possess an extraordinary love and bond with the young martyr saint Agatha.
The religious sicilian feast of Saint Agatha is the most important feast of Catania, its inhabitants from five centuries, during the three days of the feast in honor of her "Santuzza" (young Saint), create a unique setting, with celebrations and rituals impressive, which means that this event is regarded as the third religious festival in the world (some say the second ...) after the "Semana Santa" in Seville and the "Corpus Christi" in Cuzco, Peru. Unlike other religious holidays, more sober, to Sant'Agata highlights a vocation exuberant typical of the south Italy, who loves to combine the sacred with the profane.
The cult of the young Santa dates back to the third century, when the teenager Agatha was martyred for refusing the roman proconsul Quintiziano. One year after the death of the young Agatha, on 5 February of the year 252, his virginal veil was carried in procession, and it is said it was able to save Catania from destruction due to a devastating eruption of Mount Etna.
The festivities begin with the procession of Candlemas (this year were in greater number, perhaps 14 instead of the 11 years of the other years); the "Candlemas" are giant Baroque wooden "candlesticks" paintings in gold, each representing an ancient guild (butchers, fishmongers, grocers, greengrocers, etc.), which are brought by eight devotees; the "cannalore" (candlemas) anticipate the arrival of the "float" of Saint Agatha during the procession. Devotees, men and women, wearing a traditional garment similar to a white bag, cinched at the waist by a black rope, gloves and a white handkerchief, and a black velvet cap, and it seems that such clothing evoke nightgown with the qule the Catanese, awakened with a start by the touch of the bells of the Cathedral, welcomed the naval port, in 1126, the relics of the Holy which fell from Constantinople. On float, consisting of a silver chariot sixteenth of thirty tons, which is driven by a double and long line of devotees with the robust and long ropes, takes place the bust of Saint Agatha, completely covered with precious stones and jewels. On February 4, the parade celebrates the so-called "external path" that touches some places of martyrdom in the city of Catania; the next day, the 5 instead the procession along the "aristocrat path", which runs along the main street, Via Etnea, the parlor of Catania. On this day the devotees carry on their shoulders the long candles of varying thickness, there are some not very big, others are fairly heavy, but some skim exceptional weights.
------------------------------------------------------------------------------
La paura dell’ignoto, il timore di perdere la salute fisica o psichica, o peggio, averla già persa, possibili problemi col lavoro (per chi un lavora l’ha) o peggio non averlo dovendo così “inventarsi” la giornata, la vecchiaia che avanza, la consapevolezza dell’esistenza di un Essere Superiore, sono solo alcuni dei motivi che spingono gli uomini a cercare un contatto col Divino, col Sovrannaturale, portandoli ad invocare il Suo aiuto, ma tutto ciò non basta assolutamente a spiegare lo stretto legame fatto di assoluta devozione ed enorme attaccamento che gli abitanti di Catania (e provincia) hanno nei confronti della loro “Santuzza” la giovanissima martire Agata; nel vedere partecipare quella che sembra essere una città intera a questi giorni di rito e processione, non ci si può non porre questa domanda, cosa lega in maniera così profonda e peculiare i cittadini Catanesi alla loro Santa Patrona Agata? Forse ho avuto la fortuna di cogliere fotograficamente quella che è una risposta parziale e certamente non unica alla domanda: un bimbo in tenerissima età viene portato alla finestra dalla sua mamma mentre passa la vara di S.Agata, ecco… la devozione e l’attaccamento alla giovanissima Martire inizia da piccolissimi, trasmessa dai propri genitori (e non solo…) come un tesoro da custodire e coltivare per tutta la vita, che porta che nei giorni della festa ad un fantastico rito collettivo al quale nessun Catanese sembra non possa o non voglia rinunciare.
Questa è un breve e lungo report, da me realizzato nel febbraio di quest’anno 2016, nella città di Catania (Sicilia) in occasione della festa della sua giovane santa patrona Agata, che ha avuto luogo come ogni anno il 3, il 4 ed il 5 di febbraio (questa data commemora il martirio della Santa giovinetta), festa che viene ripetuta anche il 17 agosto (questa data rievoca il ritorno a Catania delle sue spoglie, dopo che queste erano state trasferite a Costantinopoli da parte del generale bizantino Maniace come bottino di guerra, spoglie che ivi rimasero per 86 anni); per questa occasione la città siciliana è vestita a festa con profumi di fiori d'arancio e mandarini, coi suoi cittadini che mostrano di possedere uno straordinario amore e legame con la giovane martire Agata.
Gli abitanti di Catania, oramai da cinque secoli, nei tre giorni della festa in onore della "Santuzza", danno vita ad una scenografia unica, con celebrazioni e riti imponenti, che fanno si che questo evento sia considerato come la terza festa religiosa al mondo (qualcuno dice la seconda ...) dopo la "Semana Santa" di Siviglia ed il "Corpus Domini" a Cuzco, in Perù. A differenza di altre feste religiose, più sobrie, quella di Sant'Agata mette in luce una vocazione esuberante tipica del meridione, che ama unire il sacro col profano.
Il culto della giovane Santa risale al terzo secolo, quando l'adolescente Agata fu martirizzata per aver rifiutato il proconsole romano Quintiziano. Un anno dopo la morte della giovane Agata, avvenuta il 5 febbraio dell'anno 252, il suo velo virginale venne portato in processione, e si narra esso riuscì a salvare Catania dalla sua distruzione a causa di una devastante eruzione del vulcano Etna.
I festeggiamenti iniziano con il corteo delle "candelore", queste sono dei giganteschi e pesanti "candelabri" in legno, in stile barocco, dipinti in oro, ognuna rappresentante una antica corporazione (macellai, pescivendoli, pizzicagnoli, fruttivendoli, ecc.), che vengono portati da otto devoti, le quali "cannalore" durante la processione anticipano l'arrivo della "vara" di Sant'Agata. I devoti, sia donne che uomini, indossano un tipico indumento simile ad un sacco bianco, stretto in vita da una cordicella nera, guanti ed un fazzoletto bianchi, ed infine una papalina di velluto nero, sembra che tale abbigliamento rievochi la camicia da notte con la quale i Catanesi, svegliatisi di soprassalto dal tocco improvviso delle campane del Duomo, accolsero al porto navale, nel 1126, le reliquie della Santa che rientravano da Costantinopoli. Sulla vara, costituita da un carro argentato cinquecentesco di trenta quintali, trainata da una doppia e lunghissima fila di devoti tramite delle robuste e lunghe funi, prende posto il busto di Sant'Agata, completamente ricoperto di pietre preziose e gioielli. Il 4 febbraio, il corteo compie il cosiddetto "giro esterno" che tocca alcuni luoghi del martirio nella città catanese; il giorno dopo, il 5, il corteo percorre il "giro aristocratico", che percorre la strada principale, la via Etnea, salotto buono di Catania. In questo giorno i devoti portano in spalla dei lunghi ceri di vario spessore, ce ne sono alcuni non molto grossi, altri sono discretamente pesanti, ma alcuni sfiorano pesi eccezionali.
Governor Moore visits with Ivan Bates by Joe Andrucyk at 120 East Baltimore Street, 9th Floor, Baltimore, MD 21202.
Hah....I used to look like this! My body is in the shop though! More from this shoot on the blog!
Strobist:
430EX cam left - 1/4 power-1/4 CTO
580EX cam right - 1/4 power - 1/2 CTO
Triggered with ST-E2
This is my tribute to silverback Ivan who died this week at the age of 50.
Please note: Ivan was known as the “Shopping Mall Gorilla”, having lived alone in a cage for 27 years. He had a twin sibling that was captured together with him. Both were sold to the department store, but his twin died soon after their arrival.
See Zoo Atlanta's detailed biography, their article on Ivan's death and this article in The Columbian. Most of the above text was quoted from these sources.
Image of Ivan (c) Bita Honarvar, image of the book cover (c) HarperCollins Children's Books. — The book's website: The One and Only Ivan
Iván levantó la mirada y durante el tiempo que tardó en encontrar el rostro de sus padres sus ojos hablaron por sí solos.
www.youtube.com/watch?v=iCgDgJsTR_w
© Alfredo J. Llorens (Al·ma) 2010 All Rights Reserved