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Die Bauten des kanadisch-amerikanische Architekten Frank O. Gehry besitzen eine ganz spezielle Identität.
Die Gebäudeteile wurden vom Architekten mit einem digitalen 3D-Programm entwickelt und von der Düsseldorfer BM+P Bauleitung umgesetzt.
La compagnie aérienne Aircalin a opéré dimanche dernier 07 février un vol vers nulle part « Happy Flight », son premier Airbus A320neo décollant de Nouméa pour survoler pendant trois heures les joyaux du lagon calédonien.
112 passagers ont pris place à bord du premier des deux A320neo commandés par la compagnie néo-calédonienne, seuls les deux sièges côté hublot ayant été commercialisés pour ce Happy Flight ; elles avaient été vendues en une journée. L’appareil d’Aircalin immatriculé F-OTIB et baptisé Tibarama s’est envolé de l’aéroport de Nouméa-La Tontouta, « dans une ambiance joyeuse et festive, à bord et au retour sur la terre ferme ; les clients ont été très satisfaits de l’expérience. Il faut dire que le temps particulièrement dégagé a permis de survoler des sites exceptionnels à basse altitude tels que l’ile des Pins, le cœur de Voh, les îles Loyautés, la côte Est… ».
Devant « l’engouement suscité par cette expérience hors norme », un second vol a été programmé ce 14 février, à l’occasion de la Saint Valentin.
www.air-journal.fr/2021-02-09-aircalin-un-happy-flight-ve...
la1ere.francetvinfo.fr/nouvellecaledonie/le-vol-pour-null...
Survol du Cœur de Voh
#1 Price of the photo of the week by Panasonic UK
Avec Thomas Guillaud
Par Vincent N.Van
© Tous droits réservés
Remerciements :
Panasonic
Équipe du Théâtre Donald Cardwell et du Café Cultures
Maire-Adjoint, chargée de la Culture : C. Vic
Direction et programmation : A. Le Bellec
Assistante de direction : K. Barreau
Administratrice : N. Flavier
Accueil et programmation jeune public : E. Rebout-Delpuech
Régisseurs : B. Alary, R. Brulard, assistés de B. Antoine.
Im Mai 2015 feierte das Frankfurter Feldbahnmuseum sein 40jähriges Bestehen;
es gab ein viertägiges Programm mit einigen interessanten Gastloks.
Lok 16 des Frankfurter Feldbahnmuseums ist ein aus Japan re-importiertes, seltenes Stück,
gebaut 1926 in Deutschland bei Orenstein & Koppel,
in Japan unter E 103 eingereiht.
Die besondere Bauart der seltenen Maschine ist auf den ersten Blick nicht ersichtlich:
Man könnte sie auf den ersten Blick für eine 1´C 1´Lok halten.
In der Tat ist es aber eine E-gekuppelte Maschine, deren beiden Endachsen nicht mit den äußeren Treibstangen,
sondern mit zahnradgekuppelten Luttermöller-Lenkgestellen mit dem Triebwerk verbunden sind.
Dankenswerterweise hat man beim Feldbahnmuseum auch die Aufarbeitung einer solchen,
etwas komplizierteren Maschine nicht gescheut,
und so erinnert sie in ihrer Bauweise gleichzeitig auch an ihre großen Normalspurschwestern
der Baureihe 84(1´E1´h2), 84 003 und 004,
und an die 16 Loks der Baureihe 87(E´h2) gleicher Bauart für die Hamburger Hafenbahn, die heute kaum noch jemand kennt.
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Per lavori programmati sulla tratta Verona-Brescia della linea Milano-Venezia, oggi l'EC Venezia-Ginevra e' stato deviato tra Padova e Milano via Bologna. Ecco il RABe503.011 transitare a Battaglia Terme poco dopo aver attraversato la galleria "del Cataio"
Vous passez ce jour là dans notre région, n'hésitez pas à nous rendre visite. Sont au programme:
-Exposition
-Initiatiation gratuite
-Diaporama
-Concours
Le site web du Guingamp Photo Club:
Evangelische Kirchegemeinde a church in Offenburg the largest city and administrative capital the Baden-Württemberg region of Germany.
It was first mentioned in historical documents dating back to 1148 and Offenburg was declared a Free Imperial City in 1240. The city - with the exception of two buildings - was totally destroyed by the French during the Nine Years War in 1689.
During the outbreak of the Revolutions of 1848 the "Offenburger Programm" was written and and agreed to. It was the first known demand for democracy in Germany. Along with the Carlsbad Decrees, the Offenburger Program demanded basic and human rights as well as freedom of the press and a progressive tax.
During World War I Offenburg was one of the first cities to experience the effects of aerial bombardment, the operations against Offenburg railway sidings.
After the World War II begun members of the Jewish population that had not managed to emigrate were deported to Gurs concentration camp in October 1940 and from there to Auschwitz during 1942. It was only a primary target for many other bombing tactical attacks were flown during 1944 and 1945 against the railway installations.
French Forces entered Offenburg on the 15 April 1945 and from then on Offenburg became part of the French Zone of Occupation until the creation of the Federal Republic of Germany in 1949.
Since the creation of the Federal Republic, Offenburg has continually developed in size, inhabitants and prosperity. Between 1971 and 1975 eleven adjacent villages were incorporated into the commune of Offenburg and are now an integral part of the city.
Information Source:
Programme court de l'exposition L'Egypte des pharaons aux carrières des lumières des Baux de Provence.
Le thème est l'Orientalisme qui apparait dans le paysage culturel dès le XVIIè siècle.
Les oeuvres des peintres Ingres, Delacroix, Gérôme .y sont largement présentes.
Après le prologue, la cité orientale et la danse de l'âme orientale y sont évoqués.
Chrono: 3327
Ho voglia di rinascere.
Dimmi, senza un programma, dimmi come ci si sente?
Ho voglia di ricostruirmi un passato, un passato diverso.
Voglio pensare ad un futuro, anzi, voglio pensare che un futuro ci sia, e smetterla di sperare e basta.
Voglio andare a vivere con Alice che si fa il Whiskey distillando fiori.
sono riusciti a cambiarci
ci son riusciti lo sai .
Please respect my work.
© All rights reserved Francesca Di Vaio
Am Tag zuvor brachte die Lok den Zug aus Gliwice[P] (ab Fulda) nach Luisenthal.
Auf dem Programm steht als nächstes ein Flachwagenzug nach Erfurt.
Im Hintergrund ist die ehemalige Grube mit ihren Fördertürmen zu sehen.
Of the grasshopper
Taman Maluri
Kuala Lumpur MY
November 2010
Hasselblad 501C
Carl Zeiss 80mm f2.8 CF T*
Fuji Pro160c Expired
Sekonic L308s
Epson V700
ENGLISH :
La programmation de la Philharmonie de Paris ne se limitant pas à des formations classiques, il est prévu d'équiper la salle pour une modularité de la scénographie acoustique et technique.
WIKI
Wieder was auf dem Archiv.
Eine Gondelfahrt gehört bei einem Besuch in Venedig quasi zum Programm. Dabei kann man sich vorzugsweise nett durch die kleinen Seitenkanäle fahren lassen. Oder verrückte Leute machen eine Tour auf dem Canal Grande.
Ich habe mich einmal per Gondel für kleines Geld von der einen Uferseite des Hauptkanals zur anderen übersetzen lassen, weil ich keine Lust hatte zur nächsten Brück zu latschen und die nächste Wasserbushaltestelle auch zu weit entfernt war. Die Haltestellen sind mehr oder weniger wechselseitig angelegt.
Also sonderlich wohl habe ich mich in der kleinen Gondel auf dem breiten Kanal nicht gefühlt, zumal alle anderen Boote größer und gewaltiger als eine Gondel sind. Man sitzt mit seinem Hintern etwa auf höhe des Wasserspiegels oder knapp darunter. In einem kleinen, schmalen Seitenkanal ist das töte und urgemütlich aber zwischen Wasserbussen und Wassertaxis eher ungemütlich.
Das Foto ist übrigens während einer Rundfahrt in einem Wassertaxi entstanden.
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Domenica 23 aprile a #CastiglioneTinella sarà “Il Giorno delle Orchidee” con in programma una #passeggiata tra le #vigne di #moscato fino al #bosco delle #Badie, l’osservazione della fioritura dell’Orchis Purpurea, #orchidea selvatica delle #Langhe, il pranzo al sacco nel prato delle Badie, il suggestivo ed intimo concerto musicale di SimonaColonna tra gli alberi del bosco e la tappa al punto #panoramico #SanCarlo per la degustazione di #MoscatodAsti accompagnato dalle dolci #Contessine alla #nocciola e dalla tipica #Torta di #Castagne Castiglionese
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Clicca su . . . L . . . Grazie !
Su sfondo nero è meglio !
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©Giuli@naCastellengo
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Un grazie di cuore a tutti i visitatori della mia galleria fotografica!
Please don't use this image on websites, blogs or other media without my explicit permission.
© All rights reserved
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River fragmentation - The interruption of a river’s natural flow by dams, inter-basin transfers or water withdrawal - is an indicator of the degree to which rivers have been modified by man (Ward and Stanford, 1989, and Dynesius and Nilsson, 1994, as cited in Revenga et al., 2000). A fragmentation analysis carried out by the University of Umea and the World Resources Institute showed that, of 227 rivers assessed, 37% were strongly affected by fragmentation and altered flows, 23% were moderately affected, and 40% were unaffected. Analysis indicates that: - Strongly or moderately fragmented systems accounted for nearly 90% of the total water volume flowing through the rivers analyzed. - Strongly fragmented river systems are defined as 'rivers with less than a quarter of their main channel remaining without dams, where the largest tributary has at least one dam, as well as rivers where the annual flow pattern has changed substantially.' Fragmented rivers are only considered unaffected if their main channel has no dams or, if their tributaries have been dammed, the total river discharge has only declined by less than 2% (Revenga et al., 2000). - The combined length of rivers altered for shipping increased from less than 9,000 km in 1900 to more than 500,000 km in 1997 (Naiman et al., 1995, as cited in Revenga et al., 2000). - The only remaining large free-flowing rivers in the world are found in the tundra regions of North America and Russia, and in smaller coastal basins in Africa and Latin America. - Considerable parts of large rivers in the tropics, such as the Amazon, the Orinoco and the Congo, remain basically unaffected. China’s Yangtze River will become strongly affected with the completion of the Three Gorges Dam project (Revenga et al., 2000). The last three decades have seen several inland ecosystems (e.g. the Aral Sea, Lake Chad, and the Mesopotamian Marshlands) decline in size and function.
For any form of publication, please include the link to this page:
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Philippe Rekacewicz
Construction du programme immobilier Testimonio II à Monaco.
Le projet se compose de deux tours (la tour Réséda de 31 étages pour 181 logements et la tour Elsa de 27 étages pour 167 logements), une école internationale (The International School of Monaco) pour 700 élèves, une crèche de 50 berceaux ainsi qu'un parking de 1 123 places dont environ 2/3 dédiés à un parking-relais.
Pays : Monaco 🇲🇨
Ville : Monaco (98000)
Quartier : Monte-Carlo
Adresse : avenue de l'Annonciade
Fonction : Éducation / Logements
Construction : 2017 → 2024
► Architectes : Arquitectonica / Alexandre Giraldi
► Gros œuvre : Vinci Construction / Caroli Batc
Niveaux : R+31
Hauteur : ≈96,00 m
Surface de plancher : 150 000 m²
Surface du terrain : 9 595 m²
Title / Titre :
Ice Palace in La Fontaine Park, Montreal, Quebec /
Palais de glace érigé au parc La Fontaine, Montréal (Québec)
Description :
La Fontaine Park is an artificial park, created on vacant land, formerly the Logan farm. Initially called Logan Park, it was renamed in 1901 in honour of Sir Louis-Hippolyte La Fontaine. /
Le parc La Fontaine est un parc artificiel aménagé sur le terrain vague d’une ancienne ferme, la ferme Logan. D’abord appelé parc Logan, il fut rebaptisé en 1901 en l’honneur de sir Louis-Hippolyte La Fontaine.
Source :
Montréal Museum of Archaeology and History Complex, 1516-33 Montréal Archaeology and History Complex (2) /
Cité d'archéologie et d'histoire de Montréal, 1516-33 Montréal Archaeology and History Complex (2)
Note :
This album features examples of images that have been digitized by external heritage communities and that have received funding for digitization and access projects.
The Documentary Heritage Communities Program (DHCP) ensures that Canada’s continuing memory is documented and accessible to current and future generations by adopting a more collaborative approach with local documentary heritage communities. The program will be delivered in the form of contributions that will support the development of Canada’s local archival and library communities by increasing their capacity to preserve, provide access to and promote local documentary heritage. Additionally, the Program will provide opportunities for local documentary heritage communities to evolve and remain sustainable and strategic.
The DHCP provides financial assistance to the Canadian documentary heritage community for activities that:
*Increase access to, and awareness of Canada’s local documentary heritage institutions and their holdings; and
*Increase the capacity of local documentary heritage institutions to better sustain and preserve Canada’s documentary heritage.
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Cet album comprend des exemples d’images qui ont été numérisées par des collectivités du patrimoine externes qui ont reçu du financement pour des projets de numérisation et d’accès.
Le Programme pour les collectivités du patrimoine documentaire (PCPD) établit une approche axée sur la collaboration avec les collectivités du patrimoine documentaire local pour que la mémoire continue du Canada soit documentée et rendue accessible aux générations actuelles et futures. Ce programme de contributions favorisera l’épanouissement des collectivités des bibliothèques et des archives en développant leur capacité à préserver, rendre accessible et promouvoir le patrimoine documentaire local. Il leur donnera aussi l’occasion d’évoluer, de rester viables et de conserver leur importance stratégique.
Le PCPD finance des activités de la collectivité canadienne du patrimoine documentaire visant à :
*faire connaître et rendre plus facilement accessibles les institutions du patrimoine documentaires locales du Canada et leurs collections;
*accroître la capacité à préserver le patrimoine documentaire du Canada de façon plus durable.
German postcard by Ross Verlag for Das Programm von Heute, Berlin. Photo: Metro Goldwyn Mayer. Wallace Beery in Viva Villa! (Jack Conway, 1934).
American actor Wallace Beery (1885-1949) is best known for his portrayal of Bill in Min and Bill opposite Marie Dressler, as Long John Silver in Treasure Island, as Pancho Villa in Viva Villa!, and his titular role in The Champ, for which he won the Academy Award for Best Actor. Beery appeared in some 250 films in a 36-year career. He was the brother of actor Noah Beery, Sr. and uncle of actor Noah Beery, Jr.
Wallace Fitzgerald Beery was born in Clay County, US, in 1885. He was the youngest son of Noah Webster Beery and Frances Margaret Fitzgerald and he and his brothers William C. Beery and Noah Beery became Hollywood actors. Wallace attended the Chase School in Kansas City and took piano lessons as well, but showed little love for academic matters. Beery ran away from home at age 16 and joined the Ringling Brothers Circus as an assistant elephant trainer. He left two years later, after being clawed by a leopard. In 1904, Wallace joined his brother Noah in New York City, finding work in comic opera as a baritone and began to appear on Broadway as well as Summer stock theatre. His most notable early role came in 1907 when he starred in The Yankee Tourist to good reviews. In 1913, he moved to Chicago to work for Essanay Studios, cast as Sweedie, The Swedish Maid, a masculine character in drag. Later, he worked for the Essanay Studios location in Niles, California. In 1915, Beery starred with Ben Turpin and his wife Gloria Swanson in Sweedie Goes to College (Richard Foster Baker, 1915). This marriage did not survive his drinking and abuse. Beery began playing villains, and in 1917 portrayed Pancho Villa in Patria (Jacques Jaccard, Leopold Wharton, Theodore Wharton, 1917) at a time when Villa was still active in Mexico. Beery reprised the role seventeen years later in one of MGM's biggest hits. Beery's notable silent films include The Last of the Mohicans (Maurice Tourneur, 1920), Robin Hood (Allan Dwan, 1922) with Douglas Fairbanks (Beery played King Richard the Lionheart in this film and a sequel the following year called Richard the Lion-Hearted), Arthur Conan Doyle's dinosaur epic The Lost World (Harry Hoyt, 1925), and Beggars of Life (William A. Wellman, 1928) with Louise Brooks.
Wallace Beery's powerful basso voice and gruff, deliberate drawl soon became assets when Irving Thalberg hired him under contract to Metro-Goldwyn-Mayer as a character actor during the dawn of the sound film era. Beery played the savage convict 'Butch', a role originally intended for Lon Chaney, Sr., in the highly successful prison film The Big House (George W. Hill, 1930), for which he was nominated for the Oscar for Best Actor. The same year, he made Min and Bill (George W. Hill, 1930) opposite Marie Dressler. This film vaulted him into the box office first rank. He followed with The Champ (King Vidor, 1931), this time winning the Best Actor Oscar, and the role of Long John Silver in Treasure Island (Victor Fleming, 1934). He received a gold medal from the Venice Film Festival for his performance as Pancho Villa in Viva Villa! (Jack Conway, 1934) with Fay Wray. Other Beery films include Grand Hotel (Edmund Goulding, 1932) with Joan Crawford, Tugboat Annie (Mervyn Leroy, 1933) with Dressler, Dinner at Eight (George Cukor, 1933) opposite Jean Harlow, and China Seas (Tay Garnett, 1935) with Gable and Harlow. During the 1930s Beery was one of Hollywood's Top 10 box office stars, and at one point his contract with MGM stipulated that he be paid $1 more than any other contract player at the studio, making him the highest-paid actor in the world.
Wallace Beery starred in several films with Marjorie Main, but his career began to decline in his last decade. In 1943 his brother Noah Beery, Sr. appeared with him in the war-time propaganda film Salute to the Marines (S. Sylvan Simon, 1943). He remained top-billed and none of Beery's films during the sound era lost money at the box office; his films were particularly popular in the Southern regions of the United States, especially small towns and cities. Beery's first wife was actress Gloria Swanson; the two performed onscreen together. Although Beery had enjoyed popularity with his Sweedie shorts, his career had taken a dip, and during the marriage to Swanson, he relied on her as a breadwinner. According to Swanson's autobiography, Beery raped her on their wedding night and later tricked her into swallowing an abortifacient when she was pregnant, which caused her to lose their child. Beery's second wife was Rita Gilman. They adopted Carol Ann, daughter of Rita Beery's cousin. Both marriages ended in divorce. In December 1939, the unmarried Beery adopted a seven-month-old infant girl Phyllis Ann. Phyllis appeared in MGM publicity photos when adopted, but was never mentioned again. Beery told the press he had taken the girl in from a single mother, recently divorced, but filed no official adoption papers. No further information on the child appears to exist, and she is not mentioned in Beery's obituary. Wallace Beery died at his Beverly Hills, California home of a heart attack in 1949.
Source: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Das Programm von Heute, Berlin. Photo: Märkische / Panorama / Schneider.
Ingrid Bergman (1915-1982) was ‘Sweden's illustrious gift to Hollywood’. In the 1940s the fresh and naturally beautiful actress won three times the Oscar, twice the Emmy, and once the Tony Award for Best Actress. Little known is that before she went to Hollywood she already had a European film career.
Ingrid Bergman was born in Stockholm, Sweden in 1915 to a Swedish father and a German mother. At age 17, she had a taste of acting when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (Gunnar Skoglund, 1932). The next year she was accepted to the Royal Dramatic Theatre in Stockholm, but she soon decided that stage acting was not for her. During her first summer break, she was hired at a Swedish film studio to work in film full-time. Her first film part was in Munkbrogreven/The Count of the Old Town (Edvin Adolphson, 1935), where she had a speaking part as Elsa Edlund. In the following years, she made a dozen films in Sweden that established her as a class actress. Among them were Bränningar/The Surf (Ivar Johansson, 1935) and Dollar (Gustaf Mollander, 1938). Another film, En kvinnas ansikte (Gustaf Molander, 1938) would later be remade as A Woman's Face with Joan Crawford. Bergman also made a film in Germany, Die Vier Gesellen/The Four Companions (Carl Froelich, 1938).
Ingrid Bergman's breakthrough film was Intermezzo (Gustaf Molander, 1936), in which she played a pianist who has a love affair with a celebrated and married violinist, played by Gösta Ekman. Hollywood producer David O. Selznick saw it and sent a representative from MGM to gain the rights to the story and have the actress sign a contract. Ingrid went to California and starred in MGM's remake Intermezzo: A Love Story (Gregory Ratoff, 1939), reprising her original role. The film was a hit and so was Ingrid. Her beauty was unlike anything the movie industry had seen before and her acting was superb. She was under contract to go back to Sweden to film Juninatten/A Night in June (Per Lindberg, 1940). Back in the US, she appeared in three films, all well-received. In 1942 she played in only one film, but that film, Casablanca (Michael Curtiz, 1942), would make her a huge star. Bergman chose her roles well after Casablanca. In 1943, she was nominated for an Academy Award for her role in Ernest Hemingway's For Whom the Bell Tolls (Sam Wood, 1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (George Cukor, 1944) the following year - her role as the persecuted wife of Charles Boyer got her the Oscar for Best Actress. In 1945, Ingrid played in Spellbound (Alfred Hitchcock, 1945) with Gregory Peck, Saratoga Trunk (Sam Wood, 1945), and The Bells of St. Mary's (Leo McCarey, 1945), for which she received her third Oscar nomination for her part as Sister Benedict.
Ingrid Bergman also worked with Alfred Hitchcock on another classic, Notorious (1946) with Cary Grant, and the less successful Under Capricorn (1949) with Joseph Cotten. Bergman went to Alaska during World War II in order to entertain troops. Soon after the war ended, she also went to Europe for the same purpose, where she was able to see the devastation caused by the war. It was during this time that she began a relationship with the famous photographer Robert Capa. She made no films in 1947 but bounced back with a fourth nomination for Joan of Arc (Victor Fleming, 1948). She played the part of Jeanne d'Arc three times in her career: on stage in 1946 in Maxwell Anderson's Joan of Lorraine for which she won the Tony Award, in the film version in 1948, and in 1954 in the Italian film Giovanna d'Arco al rogo/Joan of Arc at the Stake (Roberto Rossellini, 1954), based on a 1935 dramatic oratorio by Arthur Honegger. But in 1949 Saint Ingrid first would suffer a sudden and disastrous fall from grace. In 1949 Ingrid Bergman went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and got pregnant. The pregnancy caused a huge scandal in the United States. It even led to Bergman being denounced on the floor of the US Senate by Edwin C. Johnson, a Democratic senator, who referred to her as "a horrible example of womanhood and a powerful influence for evil." In addition, there was a floor vote, which resulted in her being made 'persona non grata'. The scandal forced Bergman to exile herself to Italy, leaving her husband, Dr. Petter Lindström, and daughter, Pia Lindström in the United States. Dr. Lindström eventually sued for desertion and waged a custody battle for their daughter.
In 1950, Ingrid Bergman married Rossellini and the same year their son, Renato Roberto, was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini. Isabella would later become an outstanding actress in her own right, as did her half-sister Pia.
From 1950 to 1955 Bergman and Rossellini made six films together: Stromboli (1950), Europa '51/No Greater Love (1952), a segment of Siamo donne/We, the Women (1953), Viaggio in Italia/Voyage in Italy (1954), La paura/Fear (1954) and Giovanna d'Arco al rogo/Joan of Arc at the Stake (1954). These films were ahead of their time but were generally not received well, especially in the US, where many conservative political and religious leaders still raised a hue and cry about her past. Bergman also starred in Jean Renoir's Elena et les Hommes/Elena and Her Men (1956), a romantic comedy where she played a Polish princess caught in political intrigue. Although the film wasn't a success, it has since come to be regarded as one of her best performances. Finally, after being exiled from Hollywood for seven years, Bergman returned opposite Yul Brynner in the title role in Anastasia (Anatole Litvak, 1956), which was filmed in England. For this, she won her second Academy Award. She had scarcely missed a beat. The award was accepted for her by her friend Cary Grant. Bergman would not make her first post-scandal public appearance in Hollywood until the 1958 Academy Awards when she was the presenter of the Academy Award for Best Picture. Furthermore, after being introduced by Cary Grant and walking out on stage to present, she was given a standing ovation. In 1957 she divorced Rosselini and in 1958 she married Lars Schmidt, a theatrical entrepreneur from a wealthy Swedish shipping family. After all the years she spent away from Hollywood, she still managed to maintain her status as a major star, as the success of films like Indiscreet (Stanley Donen, 1958) opposite Cary Grant and The Inn of the Sixth Happiness (Mark Robson, 1958) with Curd Jürgens showed.
In the 1960s, Ingrid Bergman concentrated on stage work and television appearances, and collaborated with her husband, theatrical producer Lars Schmidt, in such TV plays as The Turn of The Screw (John Frankenheimer, 1960) for which she won an Emmy Award and Twenty-Four Hours in a Woman's Life (Silvio Narrizano, 1961). She didn't appear in as many films as she had before, but she continued to bounce between Europe and the US making films. After a long hiatus, Bergman appeared in Cactus Flower (Gene Saks, 1968), with Walter Matthau and Goldie Hawn. In 1972, Senator Charles H. Percy entered an apology into the Congressional Record for the attack made on Bergman 22 years earlier by Edwin C. Johnson. Bergman won her third Academy Award for her role as Greta Ohlsson in Murder on the Orient Express (Sidney Lumet, 1974). Her performance is contained in a single scene: her interrogation by Poirot, captured in a single continuous take, nearly five minutes long. By 1975 Ingrid Bergman had divorced again. In her final big-screen performance in Höstsonaten/Autumn Sonata (Ingmar Bergman, 1978) she had her seventh Academy Award nomination. Bergman plays in this film a celebrity pianist who returns to Sweden to visit her neglected daughter, played by Liv Ullmann. Though she didn't win the Oscar, many felt it was the best performance of her career. In the late 1970s, Ingrid Bergman first discovered the symptoms of cancer and underwent a mastectomy. Her last role was in the television film A Woman Called Golda (Alan Gibson, 1982), about the late Israeli Prime Minister Golda Meir. Ingrid Bergman died in 1982, in London, the day after having a small party with a few friends for her 67th birthday. At her burial a single violin played the song As Time Goes By, the theme from Casablanca, recalling her most famous role, that of Ilsa Lund. That year her daughter, Pia Lindström accepted the Emmy Award for Best Actress that Ingrid won posthumously for A Woman Called Golda. Seventeen years later, in 1999, she was ranked #4 in the American Film Institute's list of greatest female screen legends. Later she was ranked #5 in Premiere's list of 'The 50 Greatest Movie Stars of All Time'. Ingrid Bergman continues to be a cultural icon - for her films and for her innocent, natural beauty.
Sources: Denny Jackson, Naim81 and Ezio Flavio de Freitas (IMDb), Wikipedia, Hitchcock.tv, and IMDb.
And, please check out our blog European Film Star Postcards.
Die Kleindestillieranlage mit Tarnnamen „Ofen 1/2“ war Teil des in der Endphase des Zweiten Weltkrieges ausgerufenen „Geilenberg“-Programmes.
Dieses Programm diente der Aufrechterhaltung der Öl- & Benzinproduktion im Dritten Reich, welche durch massive alliierte Luftangriffe auf die Ölproduzierende Industrie schweren Schaden genommen hatte. Benannt wurde das Programm nach Edmund Geilenberg, dem Projektleiter des Mineralölsicherungsplanes, wie das Programm auch genannt wurde.
Die Anlage Ofen 1/2 bestand aus zwei Destillierien, in denen auch produziert wurde. Soll-Ertrag jeder der beiden Anlagen waren 6000 Monatstonnen an Kraftstoffen, wofür je die Hälfte – also 3000 Tonnen – für die Anlage „Dachs 1“ bestimmt waren. Die restlichen 3000 Tonnen waren für den freien Markt bestimmt.
Heute, 70 Jahre nach Kriegsende sind von der Anlage Ofen ½ noch einige Zeugnisse erhalten: So z. B. die vier großen Betontanks für die Rohöllagerung, diverse halbrunde Fundamente für horizontale Tanks zur Lagerung der Endprodukte. Auch eine Baracke für das Personal ist noch vorhanden, aber in sehr schlechtem Zustand durch Vandalismus.
Hinter der Baracke befindet sich ein sehr gut erhaltener Luftschutzbunker. In einem Stollen in einem kleinen Steinbruch nördlich der Tanks befand sich die Anlage zur Rohstoff-Gewinnung, dieser Stollen wurde aber gegen Kriegsende gesprengt und ist nicht befahrbar. Auch die Betontanks wurden gesprengt, Betontrümmer liegen weit verstreut am Berghang.
Weiterführende Infos: untertage-übertage.de/Ofen1und2.html
Programm und Diner sind vorüber, für den Hunger danach hielt die Flaniermeile wieder reichlich Leckeres bereit. Nur gut, dass ab 24:00 Uhr die Tanzfläche zum Abtrainieren der überflüssigen Kilos geöffnet war. Partytime beim Ball des Weines.
Programme comprenant 38 logements.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Saint-Max (54130)
Adresse : 27, avenue Carnot
Fonction : Logements
Construction : 2020 → 2022
► Architecte : Bourbon Zanon Architecte
► Gros œuvre : GTM HALLE
► PC n° 54 482 18 A0014 délivré le 28/06/2019
► PC modificatif n° 54 482 18 A0014 M01 délivré le 15/06/2020
Niveaux : R+5
Hauteur : 17,95 m
Surface de plancher : 2753,40 m²
Surface des bâtiments à démolir : 176 m²
Superficie du terrain : 1 500 m²
Offenburg the largest city and administrative capital the Baden-Württemberg region of Germany.
It was first mentioned in historical documents dating back to 1148 and Offenburg was declared a Free Imperial City in 1240. The city - except for two buildings - was destroyed by the French during the Nine Years War in 1689.
During the outbreak of the Revolutions of 1848 the "Offenburger Programm" was written and agreed to. It was the first known demand for democracy in Germany. Along with the Carlsbad Decrees, the Offenburger Program demanded basic and human rights as well as freedom of the press and a progressive tax.
During World War I Offenburg was one of the first cities to experience the effects of aerial bombardment, the operations against Offenburg railway sidings.
After the World War II begun members of the Jewish population that had not managed to emigrate were deported to Gurs concentration camp in October 1940 and from there to Auschwitz during 1942. It was only a primary target for many other bombing tactical attacks were flown during 1944 and 1945 against the railway installations.
French Forces entered Offenburg on the 15 April 1945 and from then on Offenburg became part of the French Zone of Occupation until the creation of the Federal Republic of Germany in 1949.
Since the creation of the Federal Republic, Offenburg has continually developed in size, inhabitants, and prosperity. Between 1971 and 1975 eleven adjacent villages were incorporated into the commune of Offenburg and are now an integral part of the city.
Information Source:
German postcard by Das Programm von Heute, Berlin / Ross. Photo: Difu. Isa Pola in Il ponte di vetro/Bridge of Glass (Goffredo Alessandrini, 1940).
Isa Pola (1909-1984) was an Italian stage, film and television actress. In the 1930s and 1940s she was a big star in Italian cinema, in films such as La canzone dell'amore (1930), La telefonista (1932) and Vittorio De Sica's I bambini ci guardano/The Children Are Watching Us (1943).
Born Maria Luisa Betti di Montesano on 19 December 1909 in Bologna, Isa Pola had a passion for acting and cinema at an early stage. She was beautiful, photogenic, had something captivating and almost perverse, and picked her stage name Pola. She debuted in film in 1927 in a small part in Martiri d'Italia by Domenico Gaido. Other small parts followed in which she was type-casted as the evil adventuress, which eventually lead to her first major part in Myriam (1928) by Enrico Guazzoni. It was only in the sound film, though, that Isa Pola’s career really took off. She played the antagonist of Dria Pola in the first Italian sound film La canzone dell’amore (Gennaro Righelli, 1930). From that film on Pola became a true diva of Italian sound cinema. With her photogenic qualities, her frankness, and pleasant voice she broke with the tradition of the languid divas of the silent era. Isa Pola continued her success in the 1930s with films such as Terra madre (1931) by Alessandro Blasetti, La Wally (1931) by Guido Brignone, L'ultima avventura (1932) by Mario Camerini, La telefonista (1932) by Nunzio Malasomma, Acciaio (1933) by Walther Ruttmann and L'anonima Roylott (1936) by Raffaello Matarazzo. La telefonista gave her imago a new twist as a serious and streetwise telephonist, contrasting with her previous vamp roles.
Isa Pola's career quickly marched forward and she became a popular diva of the Italian screens, thanks to her versatility, acting together with the big male stars of those years: Fosco Giachetti, Gino Cervi, Rossano Brazzi, and Antonio Centa, alternating the type of the perfidious, insatiable woman with the honest and pious wife, and the defenseless girl with the adulterous bourgeois lady. She e.g. played Santuzza in Cavalleria rusticana (Amleto Palermi 1939) opposite Leonardo Cortese as Turiddu, she performed the title role in Lucrezia Borgia (Hans Hinrich, 1940), and did the female lead of Arianna in the now lost western Una signora dell’ovest (Carl Koch, 1942), with Michel Simon, Rossano Brazzi, and Valentina Cortese. Memorable was her part of the wife of Emilio Cigoli who betrays her husband with Adriano Rimoldi in Vittorio De Sica’s realist melodrama I bambini ci guardano/Children Are Watching Us (1943). In the postwar era Isa Pola returned to the cliché of the perfidious and adulterous woman in Furia (Goffredo Alessandrini, 1947) with Gino Cervi, Ombre sul Canal Grande (Glauco Pellegrini, 1951) with Antonio Centa and Tre storie proibite (Augusto Genina, 1952) with Gabriele Ferzetti. Until the late 1950s Isa Pola was active in cinema while pursuing a modest career on television on the side in the years 1957-1959.
After having started on stage with revues with Nino Besozzi, Antonio Gandusio, and Enrico Viarisio, Isa Pola turned towards prose theatre. Thanks to her clear voice and her perfect mastering of Venetian dialect, she excelled on stage with the Compagnia del Teatro Veneto, in particular in 1936 with La vedova and in 1947 alongside Cesco Baseggio in Il bugiardo. In addition to comedies by Carlo Goldoni, she also performed in texts by Giacinto Gallina, George Bernard Shaw (Non si sa mai/You Never Can Tell), Alberto Moravia (Gli indifferenti), Torquato Tasso (Intrighi d'amore), Gabriele D'Annunzio (La fiaccola sotto il moggio) andLuigi Pirandello. She was also striking in comical theatre alongside Alberto Bonucci in 1958. After having retired to private life, Isa Pola died in Milan in 1984, at the age of almost 75 years.
Sources: www.cineartistes.com/fiche-Isa+Pola.html (French), Wikipedia (Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Das Programm von Heute, Berlin. Photo: Euphono-Märkische. Sabine Peters in Unter Ausschluß der Öffentlichkeit/In the public eye (Paul Wegener, 1937).
Sabine Peters (1913-1982) was a fresh-faced German theatre and film actress. During the 1930s, she played supporting and occasional leading roles in several mainstream romances and comedies for the Ufa. For Carl Froelich, she played a young student in two films but she had her breakthrough as the selfish and jealous daughter of Lil Dagover in Das Mädchen Irene/The Girl Irene (1936).
Sabine Peters was born in 1913 in Berlin. The merchant's daughter studied acting with Ilka Grüning. After her studies, she was accepted directly into the ensemble of Agnes Straub at the Berliner Theater am Kurfürstendamm, where she playedingénue roles until 1938. In that year she also made her film debut as one of the eight school girls in the musical drama Acht Mädels im Boot/Eight Girls in a Boat (Erich Waschneck, 1938) starring Karin Hardt and Theodor Loos. In the following year, she already played at the side of important actors of that time as Heinrich George, Hertha Thiele and Albert Lieven in the drama Reifende Jugend/Ripening Youth (Carl Froelich, 1933). She played one of three girls who start at an elite school in Lübeck. The film was inspired by the earlier German romantic drama and cult classic Madchen in Uniform/Girls in Uniform (Leontine Sagan, 1931) also with Thiele and with artistic direction from Carl Froelich, who also funded that film. The actor and director Fritz Kampers then engaged Peters for the Bavarian comedy Konjunkturritter/Knights of the Economy (Fritz Kampers, 1934) with the famous folk actor Weiß Ferdl.
Sabine Peters had her breakthrough with Geraldine Katt and Lil Dagover in the Ufa problem film Das Mädchen Irene/The Girl Irene (Reinhold Schünzel, 1936). She played Irene, a selfish and jealous young girl who tries to prevent the remarriage of her attractive mother by all means. Familiar with classical roles on the stage, she appeared with Heinrich George, Ida Wüst and Rotraut Richter in Der Biberpelz/The Beaver Coat (Jürgen von Alten, 1937), the film adaptation of Gerhart Hauptmann's stage comedy 'Der Biberpelz'. In 1938 followed the comedy Rätsel um Beate/Mystery around Beate (Johannes Meyer, 1938), again with Lil Dagover and also with Albrecht Schoenhals. She was again a student in the drama Die vier Gesellen/The Four Companions (Carl Froelich, 1938), starring Ingrid Bergman. The film was intended as a star vehicle to launch Bergman's career in Germany following her success in several Swedish films. Sabine Peters married the opera singer Willi Domgraf-Fassbaender. From this marriage came their daughter Brigitte Fassbaender, born in 1939, who later became an important mezzo-soprano. After 1945 Sabine Peters performed mainly at the theatre. Her last role was a small part in the television film Die Weber/The Weavers (Fritz Umgelter, 1980, an adaptation of the stage play by Gerhart Hauptmann. Sabine Peters passed away in 1982 in Munich.
Sources: Wikipedia (German and English) and IMDb.
And, please check out our blog European Film Star Postcards.