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Max is a Pomchi, a Pomeranian and chihuahua mix . He is very loving and protective of me. He doesn\'t like strangers!
Hi everyone!
This is Coco and her new boyfriend. His name is Max and I think he's a bad boy:)
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song: Liars - Clear Island
3OH!3 ft. Katy Perry - Starstrukk
The Atlantic Washington Ideas Forum at the Harman Center, Tuesday, September 27 - Thursday, September 29, 2016, Washington, DC. (Photo by Max Taylor)
Korean Air 737 HL8348 takes off from Beijing Capital with a flight bound for Jeju.
Aircraft: Korean Air (KE/KAL) Boeing 737 MAX 8 HL8348.
Location: Beijing Capital International Airport (PEK/ZBAA), China.
Vintage Austrian postcard. Iris Verlag, 770. Photo by Fayer, Vienna.
Maximilian 'Max' Neufeld, also Massimiliano Neufeld and Massimo Neufeld, (* 13 February 1887 in Guntersdorf, Austria-Hungary; † 2 December 1967 in Vienna, Austria) was an Austrian actor and film director. He was the younger brother of the actor Eugen Neufeld. Neufeld directed 70 films and played in 48 films.
Max Neufeld initially played in his father's theatre company and received his first job as an actor at the old Stadttheater Klagenfurt in 1905. He subsequently appeared both in provincial theatres and, from 1912, at the Theater in der Josefstadt in Vienna. He received his first film roles in 1913 from the Viennese art film industry, which, after several supporting roles in films such as Johann Strauss an der schönen blauen Donau, Treue Seelen and Unter falscher Flagge, gave him his first leading role in Der Pfarrer von Kirchfeld (1914). He mainly played ‘youthful lovers’ and ‘pithy lads’ in rural dramas.
During the First World War, he served as an artillery officer between 1916 and 1918. He returned to film while the war was still raging. He now became a popular actor for lovers, whom he played in films such as the war drama Freier Dienst (1918), Don Cäsar, Graf von Irun (1918), Die Ahnfrau (1919), Don Ramiro and Der tote Hochzeitsgast (1921). As the first male film star in Viennese art film, he played alongside popular actresses and film stars such as Hansi Niese in Frau Gertrud Namenlos (1914) and Liane Haid in the propaganda film Mit Herz und Hand fürs Vaterland (1915). There were only rare exceptions to his type cast. He played the lunatic doctor in Das Weib des Irren (1921) and the seduced monk in Eva, die Sünde (1920). In his own production Brandstifter Europas (1926), he even played a sinister, demonic role as ‘Monk Rasputin’, which remained an absolute exception.
After 1921, he mainly worked as a director, but continued to take on film roles, mostly in his own films. He regularly directed dramas, melodramas, comedies and adventure stories. In the second half of the 1920s, he developed into an experienced master of light, Viennese comedies, such as Der Balletterzherzog, but also chamber drama-like films with depth, such as Die Strecke. He became a member of the board of the organisation representing the interests of Austrian filmmakers, the Filmbund, after it was founded in 1922. He directed and played the leading role in the first film adaptation of Hoffmann's Tales in 1923 by the Viennese Vita-Film. From the mid-1920s, he also occasionally wrote the screenplays for his films, and from the late 1920s he also worked in Germany from time to time, for example for the Berlin-based Nero-Film, for whom he directed Eine Nacht im Grandhotel in 1931. In 1932, he directed the German-Austrian co-production Sehnsucht 202 (1932) for Cine-Allianz, which focussed on those affected by the then high level of unemployment following the Great Depression of 1929.
In 1933, after the National Socialists came to power in Germany, Max Neufeld had to leave Berlin because of his Jewish origins and became a European traveller for the next few years with productions in Vienna, Paris, Rome and Madrid. An application to the Reich Film Chamber in Berlin in 1936 for a special permit to continue making films in Germany was rejected, as was the import of productions in which Max Neufeld was involved. Although Jews were no longer allowed to work in film in Austria after 1936, he remained in Vienna until Austria's annexation to Germany. Meanwhile he had directed in Austria films like Csibi, der Fratz (1934) with Franziska Gaal, Ein Stern fällt vom Himmel (1934) with Joseph Schmidt, and Fräulein Lilli (1936) with Gaal again. In 1937 or 1938 he fled to Rome, where he directed various romantic comedies until 1941, such as Mille lire al mese (1938) and Ballo al castello (1939), both with Alida Valli. Afterward, he worked in Spain and directed e.g. Madrid de mis sueños (1942). After the Second World War, Neufeld returned to Rome where he directed e.g. Il tiranno di Padova (1946), but also made films in Vienna again from 1948, such as Anni (1948) with Elfie Mayerhofer and Liebling der Welt (1949) with Nadja Gray. In 1957 he directed his last film: Der schönste Tag meines Lebens. Max Neufeld was buried in Vienna's Central Cemetery,
Sources: German Wikipedia, IMDb.
If there is a max laugh competition these guys would sure win hands down. The shot was taken during mid day sun and the light is harsh.Could have tried quicker exposure but had to capture this moment as it happened
Max of Sam and Max Freelance Police. From a screen shot of the Lucas Arts Sam and Max game. Currently occupying one of the windows of my cube at work.
Quizás para algunos el nombre de Max Beckmann no les dice mucho, para otros, su vida y sus obras son un resumen de la historia del siglo XX.
Guerras mundiales, vidas peregrinas, búsqueda de identidad y consagración lejos de sus tierras.
Nuestro amigo Álvaro Tapia Hidalgo, nos invita a conocer a este potente favorito y descubrir a través de él la historia del siglo pasado.
Álvaro, muchísimas gracias por este gran aporte.
Saludos
Roberto Delpiano
Nombre o seudónimo del Personaje:
Max Beckmann
Año de nacimiento y defunción (en caso de haber fallecido)
1884- 1950
Nacionalidad del personaje
Alemana
Nombre de el o los autores de la pieza gráfica.
Álvaro Tapia Hidalgo
Nacionalidad de el o los autores de la pieza gráfica.
Chilena
Álvaro Tapia Hidalgo
The Atlantic Washington Ideas Forum at the Harman Center, Tuesday, September 27 - Thursday, September 29, 2016, Washington, DC. (Photo by Max Taylor)
Sabato 7 luglio 2018 si è tenuta la Giornata del Laureato: il grande evento con cui l’Università di Pavia festeggia tutti i suoi migliori neodottori. La cerimonia, giunta quest’anno alla sua ventottesima edizione, si è aperta con l’ingresso del corteo accademico nel Cortile Teresiano e con il discorso di benvenuto del Rettore Fabio Rugge.
E’ proseguita con la prolusione di un alunno “celebre”, quest’anno affidata a Elena Conti, Direttore del Dipartimento di Biologia strutturale del Max–Planck–Institut di Biochimica con sede a Monaco di Baviera. Si tratta di una delle 80 strutture della galassia della Max Planck Society – l’ente di ricerca pubblico tedesco e tra le più autorevole istituzioni scientifiche nel mondo. La Prof.ssa Conti guida in particolare un gruppo specializzato nello studio del metabolismo dell’RNA, e tra le sue ultime ricerche – pubblicata lo scorso marzo sulla rivista Science – si legge dell’interazione e della funzione fisiologica di due macchine molecolari, i ribosomi e gli esosomi, mediante microscopia crioelettronica.
Gli studenti che hanno ottenuto il diploma con il massimo dei voti hanno poi ricevuto la pergamena direttamente dalle mani dei Presidenti di Facoltà e dei Direttori di Dipartimento, dopodiché è toccato ai Premi di Laurea speciali offerti da UBI Banca.
A colourful scene at the Amerton Railway's gala - Max, the O&K from Statfold, heads the passenger train
A Wall is A Screen (Künstlerkollektiv: Kerstin Budde, Peter Stein, Sabine Horn, Sarah Adam, Sven Schwarz, Tom Schlösser, gegründet 2003, Hamburg)
Frankfurt 2009
Eine Stadtbesichtigung der besonderen Art veranstaltet das Hamburger Künstlerkollektiv „A Wall Is A Screen“. In einer Kombination von Stadtführung und Filmnacht ziehen Menschen durch die Innenstadt und machen an Wänden von Gebäuden halt. Dort werden Kurzfilme der verschiedenen Genres gezeigt. Ist ein Film zu Ende, geht die Gruppe weiter zur nächsten passenden Wand. Als Stadtführung bringt dieses Projekt zum einen Menschen nicht selten an Orte ihrer Innenstadt, die sie vorher noch nie besucht haben. Zum anderen lassen sich stadthistorische Filmdokumente an den Orten vorführen, an denen sie gedreht wurden. Der ungewöhnliche Kino-Stadtrundgang fand an zwei aufeinander folgenden Abenden statt.
Foto: Bernd Kammerer