View allAll Photos Tagged existentialism
Djerba 1993; Analog picture taken with Pentax; digital version created by scanning negative with Canoscan 8800F
A tropical looking house on a street corner in DeLand, Florida shot in digital infrared. The title refers to the "no outlet" street sign.
sunlight creeps through the tree outside of the window, then enters the fishtank with some stripes and looks below the belly of my drinking cat Emily; silence; moose is still sleeping...
...I love to be out walking, just zipping in whatever I happen to see, Let my eyes either focus on amazing things in the real world or go inwards exploring, memories, fantasies, emotions, deep thoughts or just shallow Abstract dreams...
Sometime You have a camera at hand when you walk pass something beautiful in the urban landscape...
...As this amazingly weathered little stud on something, has created a pattern so amazing, I couldn´t even paint it in a million years, well, perhaps but it would probably take me 5 years, but still why, it exists there is no need to make a painting of it... and luckily I photographed it for you to see...
But hey remember this is just from a certain angle in a certain lighting in a certain time...
Still it is beautiful enough to die for, well rather live for....
...our world is full of amazing treasures, it is a pity some won´t ever experience it, since life is a passing thing...
I wish more people could see more, and actually see what they are seeing...
Life is short, I wouldn´t even be able to finish all projects and dreams I wan´t to do if I lived a million years and especially all the things I will discover that I want to do and experiment, research and play with all along those million years...
...That is perhaps why I hate wars, people plucked away often young, experiencing horrible things I wouldn´t like to experience and wouldn´t wish even my worst enemy to experience... then a lot of these will perish on some dirty field somewhere forgotten by all except for their friends and family...
Two people killing each others who under different circumstances could have been friends, work mates or lovers...
...people which will experience horror just before they end their brief life...
Peace and Peace!
/ MushroomBrain an observer of humans and nature!
leaving the "Public Library" at 42nd street / Broadway, Manhattan, on a rainy day...
compare:
an old BLURB-book, where you can find this NY street-shot too......
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or read my article AIN'T NO SUNSHINE WHEN SHE'S GONE in my daily wordpress blog at flickrcomments.wordpress.com/2011/07/04/aint-no-sunshine/
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comment by gcquinn: not only a stylish woman with umbrella in the rain, but one who reads books!
comment by Ian@NZFlickrs: Overdressed librarian and the man is waiting to catch her if she slips in those high heel shoes ;-)
Joe Wig commented: ...She's the beauty who has to battle the elements. You can feel the wet environment. The man's an afterthought. In fact, you wonder why he's slowing down since it IS raining.
comment by thorvaala: I suspect she's a goddess and that has caused the man to hesitate.
congratulations! you are a winner
www.flickr.com/groups/existentialism/discuss/ 721576242882...
of contest 8 of our group EXISTentialism!
photo session in an abandoned factory loft; shooting was done by my wife Barbara [137 pictures with this model (I.)]
This epic science fiction film, produced and directed by Stanley Kubrick, follows a voyage to Jupiter with the sentient computer HAL after the discovery of an alien monolith affecting human evolution. The film deals with themes of existentialism, human evolution, technology, artificial intelligence, and the possibility of extraterrestrial life. The screenplay was written by Kubrick and Arthur C. Clarke, and was inspired by Clarke’s 1951 short story “The Sentinel” and other short stories by Clarke.
The film is noted for its scientifically accurate depiction of space flight, pioneering special effects, and ambiguous imagery. Kubrick avoided conventional cinematic and narrative techniques, dialogue is used sparingly, and there are long sequences accompanied only by music. The soundtrack incorporates numerous works of classical music, among them “Also sprach Zarathustra” by Richard Strauss, “The Blue Danube” by Johann Strauss II, and works by Aram Khachaturian and György Ligeti.
The film was nominated for four Academy Awards, with Kubrick winning for his direction of the visual effects. It is widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed “culturally, historically, or aesthetically significant” by the U.S. Library of Congress and selected for preservation in the National Film Registry. [Source: Wikipedia]
Movie Trailer: www.youtube.com/watch?v=oR_e9y-bka0
View On Black - seen in TILBURG, Netherlands, www.gipsyfestival.nl - dancers from the group PUERTO FLAMENCO - www.puertoflamenco.com - related too: espliego.wordpress.com/2011/03/18/flamenco-dance/#comment...
Quadralectics Architecture - Marten Kuilman (2011).
quadralectics.wordpress.com/4-representation/4-2-function...
Fear as a psychological entity is something for the young, inexperienced adults facing the complexities of life and for the elderly and retired. In the latter case fear is often related to the end of their visible visibility period, known as death. Fear, as an instinctual emotion, is the most persistent and all-embracing of the four basic human emotions: fear, aggression, nurture and desire. The Greek word for fear is phobos, which points in a psychiatric context (phobia) to an intense and irrational situation, activity, things or persons. Emotional intensity is an important constituency of fear, which can be translated as a heightened visibility. The psychological entity of fear, as seen in a quadralectic context, is the emotion, which breaks loose shortly after a maximum approach (intensio) to one-self is experienced.
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The theme of anxiety and fear is closely related to the existentialism of the Danish philosopher Søren Kierkegaard (1813 – 1855). He placed in his book ‘The Concept of Anxiety’ (1844) the psychological entity of unfocused fear in an environment of sin, with a reference to Adam, who was forbidden to eat the apple (of the Tree of Knowledge of Good and Evil). The prohibition implied a form of freedom, either to eat or not to eat. Kierkegaard drew the conclusion that Adam’s state of initial bliss was the result of ignorance, which ended with the predicament of losing his freedom when consuming the ‘knowledge of good and evil’. The result is a state of anxiety, and a lost innocence.
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The theme of ‘fear’ was taken up by the Belgian activist and philosopher Lieven de Cauter (Koolskamp, 1959). His network organization is called Oxumoron – meaning, in the right spelling as oxymoron, a trope uniting extremes or opposites. The name probably reflects the hidden oppositional mind of its creator. He described in his book (De CAUTER, 2004) a society (city), which was divided up to an individual level, following ideas from the Japanese architect Kisho Kurakawa (1934 – 2007).
The latter was a founding member of the Japanese Metabolism movement, aiming at sustainable architecture with flexible urban models for a rapidly changing society. Kurakawa’s Nakagin Capsule Tower in the Ginza area of Tokyo brought the concept of an individual living space in 1972 into practice. Hundred and forty capsules (containers) were stacked at angles around two round central cores. The units are detachable and replaceable – but this method could probably not prevent its destruction in the near future to make way for new developments.
De Cauter’s ‘capsular society’ is proposed as the ultimate protection against fear. It offers a bleak scenario for the near future in which ‘daily life is becoming a kaleidoscope of incidents and accidents, catastrophes and cataclysms’ (VIRILIO, 2003). Other philosophers, like the Italian Giorgio Agamben (Rome, 1942), derive their symbolism from the idea of a (prisoners) camp, in which people are brought together in an undemocratic way and have lost all their human rights.
CAUTER, de, Lieven (2004). De capsulaire beschaving. Over de stad in het tijdperk van de angst. Nai uitgevers Rotterdam. ISBN 90-5662-406-7
VIRILIO, Paul (1997). Open Sky. Verso, London. ISBN 1-85984-880-X
– (2003). Unknown quantity. Thames and Hudson, London.
Venice is a very friendly city and the visitors are mostly happy,
even if it is raining cats and dogs... - photo shot by my wife Barbara
P.S.:
I've found also a wonderful movie titled RAINFALL IN VENICE at youtube:
www.youtube.com/watch?v=q93hNq1s9U4&feature=related
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This epic science fiction film, produced and directed by Stanley Kubrick, follows a voyage to Jupiter with the sentient computer HAL after the discovery of an alien monolith affecting human evolution. The film deals with themes of existentialism, human evolution, technology, artificial intelligence, and the possibility of extraterrestrial life. The screenplay was written by Kubrick and Arthur C. Clarke, and was inspired by Clarke’s 1951 short story “The Sentinel” and other short stories by Clarke.
The film is noted for its scientifically accurate depiction of space flight, pioneering special effects, and ambiguous imagery. Kubrick avoided conventional cinematic and narrative techniques, dialogue is used sparingly, and there are long sequences accompanied only by music. The soundtrack incorporates numerous works of classical music, among them “Also sprach Zarathustra” by Richard Strauss, “The Blue Danube” by Johann Strauss II, and works by Aram Khachaturian and György Ligeti.
The film was nominated for four Academy Awards, with Kubrick winning for his direction of the visual effects. It is widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed “culturally, historically, or aesthetically significant” by the U.S. Library of Congress and selected for preservation in the National Film Registry. [Source: Wikipedia]
Movie Trailer: www.youtube.com/watch?v=oR_e9y-bka0
trying to approach the timeless art of the old masters of blues guitar P.S.: daily ranking stats of my guitar instrumentals friendly organized by dopiaza - the most interesting first: guitar videos
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I like to play songs of TAMPA RED, 1904-1981... for example the song NO MATTER HOW SHE DONE IT: "I know a girl by the name of Mae Lou / she shook it so much / she had a diamond blue." CHORUS: "No matter how she done it / No matter how she done it / No matter how she done it / she done it just the same." ... "The copper brought her in, she didn't need no bail, she shook it for the judge and put the cop in jail (no matter HOW she done it)... " +++ view my amazon-review at
www.amazon.de/Bottleneck-Guitar-1928-1937-Tampa-Red/dp/B0...
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© Milan Cvetanovic
All rights reserved!
www.youtube.com/watch?v=SiO_7LhPZFM
A candid packed with existentialism and coming of age insecurity. Snapped at Sunny Beach, Black Sea, Bulgaria.
Follow the PHOTOGRAPHY OF MARK LIGHTFOOT
Website: www.AquaShots.CA
Facebook: AquaShots
Twitter: @AquaShotsMedia
If one looks closely amongst the gorgonians in the shallows of the Caribbean, one will regularly see these tiny oddities with what looks somewhat like hieroglyphs on them. About one inch long, this individual is actually a species of Cowrie called a FLAMINGO TONGUE. The colorful exterior is actually a thin fleshy mantle spread out over it's prized shell. If you look closely, you will see the thin border between the 4 sections.
Admittedly, I've read too much SCIENCE FICTION, and so my imagination compulsively leads me to ponder such things as: Is there a message to be gleaned from the spots/living hieroglyphs on the FLAMINGO TONGUE? Perhaps a simple intra-species message - VOULEZ VOUS COUCHEZ AVEC MOI, CE SOIR?? Perhaps something existentially profound? Wouldn't that be a kick in the head finding the MEANING OF LIFE scrawled across the mantles of FLAMINGO TONGUES?! (Cheers to Douglas Adams).
Thanks for reading and for viewing. Comment, fav, share and please check out my best photos … Mark
Robert Indiana, an American Pop artist known for his "scuptural poems," is best known for his "LOVE" with a titled "O." This image, first created for a Christmas card for the Museum of Modern Art in 1964, was included on an 8 cent United States Postal Service postage stamp in 1973, the first of their regular series of "love stamps." This sculptural version on Sixth Avenue in one of many. The others can be found on the Pratt Institute campus in Brooklyn, NY; the Indianapolis Museum of Art; Scottsdale's Civic Center, in so called "LOVE Park" in Philadelphia, the New Orleans Museum of Art's sculpture garden, on the University of Pennsylvania campus, at the Museum of Modern Art at Brigham Young University, on the campus of Ursinus College in Collegeville, Pennsylvania, outside the Taipei 101 tower in Taiwan, at the Red Rock Resort Spa and Casino in Las Vegas, in Shinjuku Tokyo JAPAN, and on the world-famous Orchard Road, Singapore.
Infamously, Indiana failed to register a copyright for the work, and found it difficult to deter unauthorized commercial use. The image has been reproduced in countless times in varying forms, including sculptures, posters, and 3-D desk ornaments. It has been translated into Hebrew, Chinese, and Spanish. It strongly influenced the original cover of Love Story, the Erich Segal novel. It was parodied on the Rage Against the Machine album cover for Renegades, as well as the cover for Oasis' single Little by Little from the 2002 album Heathen Chemistry. Recently it has been parodied by London artist D*Face with his "HATE", the "A" tilted similarly. The LOVE emblem has been adopted by skateboarders, frequently used in skateboard magazines and videos. After skateboarding was banned in Philadelphia's LOVE Park, the emblem was used by organizations opposing the ban.[
Indiana moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls "sculptural poems". Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court.
Indiana, born Robert Clark,moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism. Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and, of course, "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court. Despite his early success at the center of the art world, Indiana retreated to rural obscurity in later life. Indiana has lived as a resident in the island town of Vinalhaven, Maine since 1978.
I am a black man living in a so-called post-racial America. My ancestors were slaves. People have decided my fate. My life would become a failure. This is all by design. I am fearful. I am angry because they say I am a problem. What are you going to do about it?
Photo © 2015 Rob Castro
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Gallery www.justanobserver.com/
Blog www.juzno.com/
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# #IAmGenerationImage #BlackandWhite #BnW #BW #Abstract #AngsandUncertainty #corroded #organic #textured #wetplate #AlternativeProcess #FineArt #FineArtPhotography #BlackandWhitePhotography #portrait #BlackPeople #BlackisBeautiful #fear #loathing #FearAndLoathing #fractured #cubism #collage #geometric #surreal #AfroAmerican #postracialAmerica
Bleak existentialism, courtesy of Tescos in Lewisham.
Polaroid Land Camera Automatic 103 with Fuji FP100-C.
Date of birth, existentialism in a simple online form.
I think, but still I am not in this world yet.
"Where I am, I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on."
Samuel Beckett
Juliette Gréco, French singer and actress, grande dame of French art song, icon of post-WWII France and the St-Germain-des-Prés “existentialist” scene, dies in Ramatuelle, France, at age 93. A very classy and talented lady, a “free singer and songstress of freedom,” as the daily Le Figaro described her. 😰 😰 😰
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From BBC News
Juliette Gréco, the sexy chanteuse who personified the spirit and style of post-war Paris and who later inherited Édith Piaf's exquisite mantle as grande-dame of French song, was born on 7 February, 1927 in Montpellier on the French Mediterranean coast.
Captured by the Gestapo
Her father, a police commissioner from Corsica, walked out when Juliette was still small. She, and her sister Charlotte, were raised mainly by their grandparents, and the nuns at the local convent, until their mother moved them to Paris.
It was wartime and Paris was an occupied city. Juliette's mother risked everything working with the Resistance. In 1943, disaster struck and the Gestapo arrested them all. "A French Gestapo officer humiliated me," she recalled. "I became so upset that I punched him on the nose. Well, that cost me!"
As a teenager, Juliette Gréco was captured by the Gestapo and thrown into prison. Her mother and sister were hauled off to the Ravensbrück concentration camp in northern Germany. It was a women-only prison opened on the personal orders of Heinrich Himmler.
Many were gassed, thousands more perished of disease, starvation, overwork and despair. In all, 50,000 women died within its walls before the war was over.
Juliette was spared the camps. Just 15 years old, she was thrown into the notorious women's prison in Fresnes, just south of Paris. It was a foul place where the Gestapo held, tortured and often murdered members of the Resistance.
Released a few months later, all she had were the blue cotton dress and sandals she'd been wearing when she was rounded up. It was the coldest winter on record and she had no home to return to. So Gréco walked the eight miles back into town.
Miraculously, both mother and daughter made it through Ravensbrück. After the liberation, Juliette went every day to the Lutétia hotel, where survivors were arriving. One day, among a crowd of skeletal, liberated prisoners, she spotted them. "We held each other tight, in silence. There were no words for what I felt at that instant."
Existentialist muse
The war over, Juliette moved to Saint-Germain-des-Prés, on the left bank of the Seine, making ends meet singing in cafes. "I had no food, so I bought a pipe and some very strong tobacco, and I smoked it in my room so I could forget my hunger", she said.
Orson Wells and Juliette Gréco were friends from the post-war Parisian social scene. Dirt poor, she was reliant on male friends to lend her things to wear. Everything was too big but it kept out the cold. The baggy clothes, the long black hair, her stunning looks and dark makeup meant you couldn't miss her. She was "the black muse of Saint-Germain-des-Prés", captivating the Parisian post-war beau-monde.
In 1946, they would gather at the famous cellar club, Le Tabou; Juliette Gréco at the microphone, Picasso, Orson Wells and Marlene Dietrich at the bar. Marlon Brando would give her a lift home on his bike.
The existentialists loved her for the way she looked. Juliette was fascinated by their unconventional style and mindset. "Black provides space for the imaginary," she said. They all believed in living for the now.
Photographers Robert Doisneau and Henri Cartier-Bresson captured her beauty with their cameras. Jean Cocteau asked her to star in his film, Orpheus.
But she was also loved for her voice, the perfect interpreter of melancholy songs capturing a post-war generation's hunger for life as freedom returned to the city.
Philosophers and writers Jean-Paul Sartre and Albert Camus both wrote lyrics for her. "Her voice carries millions of poems that haven't been written yet," Sartre insisted. "It is like a warm light that revives the embers burning inside of us all. In her mouth, my words become precious stones."
Miles Davis
Existentialism gave post-war Paris its intellectual identity. But its soundtrack was American jazz. They had a passionate love affair but never married. "You'd be seen as a negro's whore in America", he told her.
Charlie Parker, Dizzy Gillespie and Django Reinhardt were all huge stars. Of course, she knew them all. One night, unable to afford a ticket, Gréco snuck back stage at the Salle Pleyel on the Rue Faubourg Saint Honoré, to watch the legendary jazz trumpeter, Miles Davis.
It would be the beginning of a passionate love affair that would last until the end of his life. He was already married, with a child fathered at the age of 17. He spoke no French, she had no English. None of that mattered in bohemian Paris.
Gréco was transfixed by his looks and his talent. "In profile, he was a real Giacometti", she said. "He had a face of great beauty. You didn't have to be a scholar or a specialist in jazz to be struck by him. There was such an unusual harmony between the man, the instrument and the sound - it was pretty shattering."
"Why don't you marry her?" asked Jean-Paul Sartre. "Because I love her too much to make her unhappy," came Miles Davis' reply. The problem was his colour. "You'd be seen as a negro's whore in America", he said. "It would destroy your career."
Years later, there was a terrible incident in New York, which Davis said proved him right. Gréco had a nice suite at the Waldorf Hotel and invited Miles to dinner. "The face of the maitre d'hôtel when he came in was indescribable", she recalled.
"After two hours, the food was more or less thrown in our faces. The meal was long and painful, and he left." She took the waiter's hand, made as if she were about to kiss it, and spat in his palm.
At four o'clock in the morning, Davis called her. He was in tears. "I couldn't come by myself," he said. "I don't ever want to see you again here, in a country where this kind of relationship is impossible." She realised they had made a terrible mistake. The humiliation bit deep.
"In America, his colour was made blatantly obvious to me, whereas in Paris I didn't even notice that he was black", she later wrote.
He was not her only lover. There were dozens of heartbroken men, and some women, left reeling in her wake. Some even committed suicide after she left them.
She was unapologetic that she spread her affections so widely. "What do I care what other people think?," she'd say to anyone who asked.
It was said she loved the philosopher, Albert Camus, and the racing driver, Jean-Pierre Wimille, until he was killed in the Buenos Aires Grand Prix.
There was Hollywood movie mogul, Darryl F Zanuck. He gave her a starring role in John Huston's Roots of Heaven, alongside Errol Flynn. Another tycoon, David O Selznick, sent her a private plane so she could dine with him in London and offered her a fortune to sign a 7 year contract.
"I declined politely, trying not to laugh," she said. "Hollywood was definitely not for me."
There were three marriages; to actors Philippe Lemaire, with whom she had a daughter, and Michel Piccoli. And then, for twenty years, to the pianist Gérard Jouannest until his death in 2018.
Music and politics
Gréco was less a composer than a great interpreter of other people's songs, notably Jacques Brel and George Brassens.
The French newspaper, Libération, said she spat and caressed "the words like a Fauvist painter crushes colours onto his canvas with his knife".
Si tu t'imagines, Parlez-moi d`amour, and Je suis comme je suis were the big hits of the early years. Later, there were collaborations with Serge Gainsbourg, never one to miss working with a beautiful woman.
She became a sought-after performer far beyond the cafes of Saint-Germain, constantly in demand world-wide, including Germany, the US and Japan.
Scarred by her experience with the Gestapo, she hesitated to star in the country responsible for Ravensbrück. She finally agreed in 1959, singing with tears in her eyes remembering her mother's treatment.
She was very proud that young people made up most of the audience. But she kept returning to Hamburg and Berlin, mixing her own material with songs by her friend, Marlene Dietrich. In 2005, she even released an album in German, Abendlied (Evening Song).
Politically, she was firmly on the left. She campaigned against the wars in both Algeria and Vietnam. And then, there was her command performance for Augusto Pinochet, the Chilean dictator in 1981.
He thought it was a coup persuading the great star to perform in Santiago. She walked on to rapturous applause and gave him a show entirely consisting of songs he had banned. "I went off to dead silence", she recalled. "It was the greatest triumph of my career."
Musically, she forever experimented. In 2009, she released Je Me Souviens de Tout, an album mixing the traditional with cutting-edge French song, including rapper-cum-slam-poet, Abd Al Malik.
Gréco refused to remain forever the existentialist it-girl of the 1940s, preferring to look forwards rather than back.
But a few years later, at the age of 87, it was time to say goodbye. It would not be long before a stroke would cut her down. She launched a worldwide farewell tour, Merci. Thousands packed the great Olympia Hall in Paris, to see the legend for the last time.
The “high priestess» of existentialism played out in style, treating the crowds to classics such as Déshabillez-moi, Sous le ciel de Paris, and Jacques Brel’s great anthem, Amsterdam.
The grande-dame of French song, she may have been. But on that emotional night, she performed to an audience made up almost entirely of young people.
After an astonishing life and career that had lasted more than 70 years, Juliette Gréco was immensely proud of that.
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Adieu, mademoiselle Gréco, et merci !!! 😰 😰 😰
Best half a dollar I ever spent today. Yea, today... I'm wondering what it was that got me through. The phone hasn't rung for a long time now. When is she going to call? Forget it. Who am I fooling? It's been a week. No, it's longer than that. I could use another drink.
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Just before Russell made his way back to the Cecil Hotel, he double checked his note to make sure he'd crossed his t's and dotted his i's. It was then he'd notice there were no t's or i's in "goodbye cruel world." He replaced the note with a ticket and returned to the Cecil. To this day he sits near the dusty black dial phone and awaits her call.
Gallery www.justanobserver.com/
Blog www.juzno.com/
# #IAMGenerationImage
Can you find Shadow's eyes?
subtitled..."Hell is other people"....I read this for a course on Existentialism I'm taking at OSHER...pretty grim...
French postcard by Editions P.I., no. 1132. Photo: J.L. Castelli. Collection: Marlene Pilaete.
Gorgeous French actress Dany Saval (1942) was the lithe and lovely leading lady in both fluffy comedies and thrillers of the late 1950s and early 1960s.
Dany Saval was born as Danielle Nadine Suzanne Savalle in 1942 in a slum area of Paris, France. The Germans had just before released her father, a factory worker, from a prisoner-of-war camp. Dany started her career at 8, as a child-dancer. Later she became a Can-Can girl at the Moulin Rouge. Her first film appearance was a small part in L'eau vive/The Girl and the River (François Villiers, 1958) starring Pascale Audret. The film, based on a screenplay by pacifist writer Jean Giono, won a Golden Globe as Best Foreign-Language Film in 1959. She then appeared in the French answer to Rebel Without A Cause, Les Tricheurs/The Cheaters (Marcel Carné, 1958), as the fiancée of Pierre Brice. Les Tricheurs tells the story of disaffected Parisian youth who have lost their way in an atmosphere of existentialism, sexual liberation, and disrespect for traditional and religious values. On the huge success of Les Tricheurs followed bigger roles in such films as Asphalte/Asphalt (Hervé Bromberger, 1959) with Francoise Arnoul, La verte moisson/Green Harvest (François Villiers, 1959) and the supernatural thriller Pleins feux sur l'assassin/Spotlight on a Murderer (Georges Franju, 1961) starring Pierre Brasseur.
Suddenly one of Disney’s talent scouts saw Dany Saval on a magazine cover and after a screentest, Walt Disney signed her to a six-film contract. In her first film, Moon Pilot (James Neilson, 1962), she played a mysterious extraterrestrial opposite astronaut Tom Tryon. Hal Erickson of AllMovie likes the film: “Moon Pilot is an engaging Disney sci-fi comedy that manages to shoot off a few neat and surprisingly satirical barbs at the hypertense US/Russia ‘space race’ of the era.” On IMDb, reviewer San Diego comments: “Watch it for Dany Saval... (she) makes the film worth watching.” Despite these positive reviews, the film bombed and Saval would make only one more American film. Today she is probably best known as one of the lovely airline stewardesses being shuffled around by Tony Curtis and Jerry Lewis in the slapstick comedy Boeing Boeing (John Rich, 1965). IMDb reviewer Moonspinner55 writes: “Perky Dany Saval (as ‘Air France’) is the stand-out amongst the lovely ladies, none of whom gets an actual character to play.” In between, she appeared in several fluffy French comedies opposite such comedians as Louis de Funès and Darry Cowl. She also appeared opposite Michele Morgan in the crime thriller Constance Aux Enfers/Web of Fear (François Villiers, 1964). In 1965 she married distinguished composer Maurice Jarre, with whom she had a daughter, Stéfanie Jarre. She then retired temporarily from the screen to raise her child.
In 1970, Dany Saval made a come-back on TV in the popular comedy series Les saintes chéries/The Sweet Saints starring Micheline Presle. More TV work and films followed. She was the leading lady in the Spaghetti Western Si può fare... amigo/Saddle Tramps (Maurizio Lucidi, 1972) starring Bud Spencer and Jack Palance. In the popular action-comedy L’Animal/The Animal (Claude Zidi, 1977), she appeared opposite Jean-Paul Belmondo and Raquel Welch. And she played a supporting part in the detective comedy Inspecteur la Bavure/Inspector Blunder (Claude Zidi, 1980) starring Coluche and Gérard Dépardieu. In 1979, she wrote with Serge Prisset the musical Penelope aired on television and recorded on two 33 rpm. In 1985, she wrote the screenplay for the animated adventure L'Empire sous la mer/The Empire under the sea, featuring her dog Zaza and designed by Jean Pierre Gibrat. Her last (TV) film was La baleine blanche/Children and the White Whale (Jean Kerchbron, 1987). Then, Dany Saval retired from the film and entertainment business. A real animal lover, she has campaigned for their protection for years. In 1995 she created the association Li-Za, of which she is the chairwoman. Dany Saval married three times. Her first marriage was with pr-man Roger Chaland in 1958. Her second marriage with Maurice Jarre ended in divorce in 1967. Since 1973, she is married to host and journalist Michel Drucker, with whom she resides in Paris.
Sources: Christophe Avdjian (Teppaz and Co - French), Hal Erickson (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I’m taking part in an exhibition called Sisyphus Office based out of Skydive, a Houston, Texas gallery. Here’s an extract form the press release:
“The artists involved in the project are collaborating with businesses and offices in and around Houston in order to highlight art as a necessary distraction in our day to day life. The artists and offices involved in Sisyphus Office are working physically and conceptually with the notions of existentialism, capitalism, artistic romanticism and deadpan slapstickism as a means to examine the artifice that keeps us clinging to reality and distracted from the void. Sisyphus Office is about punching the clock, and then punching it again…but harder the second time. It’s about transcending the mundane through the beauty and absurdity of distraction. It’s about recognizing the comedy in the tragedy of the day to day… and then waking up again to do the same thing all over again the next morning.”
Anyway, my contribution is an installation KPFT entitled "What I do at work when I'm supposed to be working." in the offices of Houston radio station 90.1. It consists of a number of small works made entirely from office supplies. That have been pinned up randomly amongst the notices, flyers and memos that were already existing in the office.
You can see more of my artwork here: www.behance.net/Gallery/Sisyphus-Office-Exhibition-Housto...
Gallery website here: www.theskydive.org/
Low-Key Contest :
www.flickr.com/groups/nosunsets/discuss/72157624002886318...
Participation Of Contest N#20
www.flickr.com/groups/existentialism/discuss/721576247076...
Sometimes titles alone are worthy.
How Carter Beat the Devil is a perfect example. Having read that mysteriously original novel several years ago, I've now forgotten most of the storyline!
But still, that title lingers.
1. What intriguing title do YOU most remember... and why?
2. How do YOU beat the devil?
3. As a person of faith, I beat the devil by... looking outside of myself for that... something or SOMEONE beyond myself. I beat the devil by spurning the ever popular mantra in the self-help industry "If it's to be, it's up to ME" or "I am the Captain of my own destiny". That's a tiring burden.
4. I LIKE the self-help industry and read from it often. But I resist it's all to often existential pull to rely on self.
5. I stare down the devil and the reaper.
6. Tyler Perry, CS Lewis, GK Chesterton, Rick Warren, King David and Solomon all stare him down too. See for yourself.
:)
~Delmore Schwartz~
Common blackbird (Turdus merula) taking a bath in the garden.
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Images may not be copied or used in any way without my written permission.
On Explore!
Enlightenment
This is an image of a man nearly completely alone in the vast gallery. The darkness around him emphasises his isolation, reflecting human nature as solitary.
He disregards the gallery's purpose. Is he using his phone for answers, a distraction, or a different connection?
The contrast between his white hair and darkness suggests ageing and the inevitable. Is he using his phone to fill time? The phone, a symbol of modern technology, serves as a connection despite isolating individuals from the physical world. Does it provide a virtual community to counteract his physical isolation? Is he seeking meaning and purpose?
Art may symbolise the vastness of human experience, but the phone symbolises our agency. Even when faced with existential questions, we choose our own worldview.
The photo raises questions but doesn't provide answers. Is the man lost or thinking? Is technology a barrier or a lifeline? The image reminds us that we are human even in apparent isolation.
I’m taking part in an exhibition called Sisyphus Office based out of Skydive, a Houston, Texas gallery. Here’s an extract form the press release:
“The artists involved in the project are collaborating with businesses and offices in and around Houston in order to highlight art as a necessary distraction in our day to day life. The artists and offices involved in Sisyphus Office are working physically and conceptually with the notions of existentialism, capitalism, artistic romanticism and deadpan slapstickism as a means to examine the artifice that keeps us clinging to reality and distracted from the void. Sisyphus Office is about punching the clock, and then punching it again…but harder the second time. It’s about transcending the mundane through the beauty and absurdity of distraction. It’s about recognizing the comedy in the tragedy of the day to day… and then waking up again to do the same thing all over again the next morning.”
Anyway, my contribution is an installation KPFT entitled "What I do at work when I'm supposed to be working." in the offices of Houston radio station 90.1. It consists of a number of small works made entirely from office supplies. That have been pinned up randomly amongst the notices, flyers and memos that were already existing in the office.
You can see more of my artwork here: www.behance.net/Gallery/Sisyphus-Office-Exhibition-Housto...
Gallery website here: www.theskydive.org/