1.
Carl Van Vechten
–
Carl Van Vechten was an American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein. Born in Cedar Rapids, Iowa, he was the youngest child of Charles and he graduated from Washington High School in 1898, and later the University of Chicago in 1903. In 1906, he moved to New York City and he was hired as the assistant music critic at The New York Times. His interest in opera had him take a leave of absence from the paper in 1907, while in England he married his long-time friend from Cedar Rapids, Anna Snyder. He returned to his job at the New York Times in 1909, at that time, Isadora Duncan, Anna Pavlova, and Loie Fuller were performing in New York City. The marriage to Anna Snyder ended in divorce in 1912 and he wed actress Fania Marinoff in 1914 and their marriage lasted until the end of his life, even while his relationships with men were an open secret. They continued corresponding for the remainder of Steins life, and at her death she appointed Van Vechten her literary executor, several books of Van Vechtens essays on various subjects such as music and literature were published between 1915 and 1920. Van Vechtens controversial novel Nigger Heaven was published in 1926 and his essay Negro Blues Singers was published in Vanity Fair in 1926. Biographer Edward White suggests Van Vechten was convinced that Negro culture was the essence of America, by the start of the 1930s and at age 50, Van Vechten was finished with writing and took up photography, using his apartment at 150 West 55th Street as a studio. After the 1930s Van Vechten published little writing, though he continued writing letters to many correspondents, Van Vechten died in 1964, at the age of 84, in New York City. Most of Van Vechtens personal papers are held by the Beinecke Rare Book, the Beinecke Library also holds a collection titled Living Portraits, Carl Van Vechtens Color Photographs Of African Americans, 1939–1964, a collection of 1,884 color Kodachrome slides. The Library of Congress has a collection of approximately 1,400 photographs, there is also a collection of Van Vechtens photographs in the Prentiss Taylor collection in the Smithsonians Archives of American Art, and a Van Vechten collection at Fisk University. The Museum of the City of New Yorks collection includes 2,174 of Carl Van Vechtens photographs, brandeis Universitys department of Archives & Special Collections holds 1,689 Carl Van Vechten portraits. Van Vechten also donated materials to Fisk University to form the George Gershwin Memorial Collection of Music, the album ’O, Write My Name’, American Portraits, Harlem Heroes was completed in 1983. That year, the National Endowment for the Arts transferred the Eakins Press Foundation’s prototype albums to the permanent collection of the Smithsonian American Art Museum, dust Tracks on a Road, An Autobiography. Guide to the Carl Van Vechten papers, 1833–1965, manuscripts and Archives, New York Public Library. Carl Van Vechten collection of papers, 1911–1964, berg Collection of English and American Literature, New York Public Library
Carl Van Vechten
–
Photographic self-portrait by Carl Van Vechten, taken in 1934
Carl Van Vechten
–
Norman Mailer, 1948
Carl Van Vechten
–
Eartha Kitt, 1952
Carl Van Vechten
–
Arthur Schwartz, 1933
2.
Cherbourg
–
Cherbourg-Octeville is a city and former commune situated at the northern end of the Cotentin peninsula in the northwestern French department of Manche. It is a subprefecture of its department, and was formed when the commune of Cherbourg absorbed Octeville on 28 February 2000. On 1 January 2016, it was merged into the new commune of Cherbourg-en-Cotentin, the city is a Maritime prefecture and sub-prefecture of la Manche. Cherbourg-en-Cotentin is protected by Cherbourg Harbour, between La Hague and Val de Saire, and the city has been a position over the centuries. A stopping point for prestigious transatlantic liners in the first half of the 20th century, limited by its geographical isolation from being a great commercial port, it is nonetheless an important shipbuilding centre, and a working-class city with a rural hinterland. Cherbourg-en-Cotentin is located at the tip of the Cotentin Peninsula, in the department of Manche. At the time of the 1999 census the city of Cherbourg had an area of 6.91 square kilometres, the largest city in the Department of Manche, it is the result of the merger of the communes of Cherbourg and Octeville. The amalgamated city today has an area of 14.26 km2. Cherbourg is situated at the mouth of the Divette and at the south of the bay between Cap Lévi to the east and Cap de La Hague to the west, Cherbourg-Octeville is 120 km from the English coast. Cherbourg and Octeville-sur-Cherbourg once belonged to the deanery of La Hague, in 1786, a part of Equeurdreville joined Cherbourg, during the construction of the port, and then in 1802, a portion of Octeville. Thus, Cherbourg-Octeville lies both in La Hague and in the Val de Saire, like all Chantereyne and the area of the Mielles, the Cherbourg territory was reclaimed from the sea. Built at the level of the sea, the town developed at the foot of the Roule mountain and these folds result in layers of sandstone tilted 45° towards the north-east on la Fauconniere and the Montagne du Roule. These two cliffs are due to sea erosion in the Quaternary, the retreat of the sea then gave way to sand dunes and tidal marshes, destroyed by the urbanisation of the 17th and 19th centuries, identical to those of Collignon in Tourlaville. The greenschist, whose colour comes from chlorite and sericite, are used mainly for roofing in Nord-Cotentin, the Armorican sandstone of the Montagne du Roule is used for rubble and rockfill. Most of the quarries, which opened in the metropolitan area for building the harbour wall, are now closed. Cherbourg-en-Cotentin is bordered by the sea, the construction of the port of trade, from 1769, accompanied by the diversion of the Divette and the Trottebec gathered in the canal de retenue, along the Avenue de Paris and Rue du Val-de-Saire. The streams of the Bucaille and the Fay, which watered the Croûte du Homet, Cherbourg-en-Cotentin has a temperate oceanic climate. Its maritime character causes high humidity and a strong sea wind, commonly stormy but also low seasonal variations of temperature and few days of frost
Cherbourg
–
An aerial view of the Cherbourg agglomeration in May 2006
Cherbourg
–
A map of the Cotentin peninsula, with Cherbourg to the north
Cherbourg
–
The Montagne du Roule seen from the commercial harbour.
Cherbourg
–
The
Normandie Express catamaran ferry at Cherbourg
3.
France
–
France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
France
–
One of the
Lascaux paintings: a horse –
Dordogne, approximately 18,000 BC
France
–
Flag
France
–
The
Maison Carrée was a temple of the
Gallo-Roman city of Nemausus (present-day
Nîmes) and is one of the best preserved vestiges of the
Roman Empire.
France
–
With
Clovis ' conversion to Catholicism in 498, the
Frankish monarchy,
elective and
secular until then, became
hereditary and of
divine right.
4.
Cannes
–
Cannes is a city located on the French Riviera. It is a commune of France located in the Alpes-Maritimes department, and host city of the annual Cannes Film Festival, Midem, the city is known for its association with the rich and famous, its luxury hotels and restaurants, and for several conferences. On 3 November 2011 it also played host to the G20 organisation of industrialised nations, by the 2nd century BC, the Ligurian Oxybii established a settlement here known as Aegitna. Historians are unsure what the name means, the area was a fishing village used as a port of call between the Lérins Islands. In 69 AD, it became the scene of violent conflict between the troops of Otho and Vitellius, in the 10th century, the town was known as Canua. The name may derive from canna, a reed, Canua was probably the site of a small Ligurian port, and later a Roman outpost on Le Suquet hill, suggested by Roman tombs discovered here. Le Suquet housed an 11th-century tower which overlooked swamps where the city now stands, most of the ancient activity, especially protection, was on the Lérins Islands and the history of Cannes is closely tied to the history of the islands. An attack by the Saracens in 891, who remained until the end of the 10th century, the insecurity of the Lérins islands forced the monks to settle on the mainland, at the Suquet. Construction of a castle in 1035 fortified the city by then known as Cannes, one took a century to build. Around 1530, Cannes detached from the monks who had controlled the city for hundreds of years, during the 18th century, both the Spanish and British tried to gain control of the Lérins Islands but were chased away by the French. The islands were controlled by many, such as Jean-Honoré Alziary. They had many different purposes, at the end of the 19th century, henry Brougham, 1st Baron Brougham and Vaux bought land at the Croix des Gardes and constructed the villa Eleonore-Louise. His work to improve living conditions attracted the English aristocracy, who built winter residences. At the end of the 19th century, several railways were completed, in Cannes, projects such as the Boulevard Carnot and the rue dAntibes were carried out. After the closure of the Casino des Fleurs, an establishment was built for the rich winter clientele. This casino was demolished and replaced by the new Palace in 1979, in the 20th century, new luxury hotels such as the Carlton, Majestic, Martinez, and JW Marriott Cannes were built. The city was modernised with a centre, a post office. There were fewer British and German tourists after the First World War, winter tourism gave way to summer tourism and the summer casino at the Palm Beach was constructed
Cannes
–
The
Promenade de la Croisette and the port
Cannes
–
Cannes seen from Spot Satellite
Cannes
–
Panorama of the waterfront
Cannes
–
Boulevard de la Croisette along the waterfront.
5.
Jean Cocteau
–
Jean Maurice Eugène Clément Cocteau was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants Terribles, and the films Blood of a Poet, Les Parents Terribles, Beauty and the Beast and Orpheus. Cocteau was born in Maisons-Laffitte, Yvelines, a town near Paris, to Georges Cocteau and his wife, Eugénie Lecomte and his father was a lawyer and amateur painter who committed suicide when Cocteau was nine. From 1900–1904, Cocteau attended the Lycée Condorcet where he met and he published his first volume of poems, Aladdins Lamp, at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, edith Wharton described him as a man to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City. In his early twenties, Cocteau became associated with the writers Marcel Proust, André Gide, in 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes, the principal dancers being Tamara Karsavina and Vaslav Nijinsky. During World War I Cocteau served in the Red Cross as an ambulance driver and this was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amedeo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet and it was produced by Diaghilev, with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie. The piece was expanded into a full opera, with music by Satie, Francis Poulenc. If it had not been for Apollinaire in uniform, wrote Cocteau, with his skull shaved, the scar on his temple and he denied being a Surrealist or being in any way attached to the movement. Cocteau wrote the libretto for Igor Stravinskys opera-oratorio Oedipus rex, which had its performance in the Théâtre Sarah Bernhardt in Paris on 30 May 1927. An important exponent of avant-garde art, Cocteau had great influence on the work of others, in the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau, in 1918 he met the French poet Raymond Radiguet. They collaborated extensively, socialized, and undertook many journeys and vacations together, Cocteau also got Radiguet exempted from military service. Some contemporaries and later commentators thought there might have been a component to their friendship. Cocteau himself was aware of this perception, and worked earnestly to dispel the notion that their relationship was sexual in nature, there is disagreement over Cocteaus reaction to Radiguets sudden death in 1923, with some claiming that it left him stunned, despondent and prey to opium addiction. Opponents of that point out that he did not attend the funeral. Cocteau himself much later characterised his reaction as one of stupor and his opium addiction at the time, Cocteau said, was only coincidental, due to a chance meeting with Louis Laloy, the administrator of the Monte Carlo Opera
Jean Cocteau
–
Jean Cocteau in 1923
Jean Cocteau
–
Amedeo Modigliani, Jean Cocteau, 1916,
Henry and Rose Pearlman Collection, on long-term loan to the
Princeton University Art Museum
Jean Cocteau
–
Portrait of Jean Cocteau by Federico de Madrazo de Ochoa, ca. 1910-1912
Jean Cocteau
–
Marie Laurencin, Portrait de Jean Cocteau, 1921
6.
Beauty and the Beast (1946 film)
–
Beauty and the Beast is a 1946 French romantic fantasy film directed by French poet and filmmaker Jean Cocteau. The plot of Cocteaus film revolves around Belles father who is sentenced to death for picking a rose from Beasts garden, Belle offers to go back to the Beast in her fathers place. Beast falls in love with her and proposes marriage on a basis which she refuses. Belle eventually becomes more drawn to Beast, who tests her by letting her return home to her family and telling her if she doesnt return to him within a week. Beauty and the Beast is now recognized as a classic of French cinema, while scrubbing the floor at home, Belle is interrupted by her brothers friend Avenant who tells her she deserves better and suggests they get married. Belle rejects Avenant, as she wishes to stay home and take care of her father, who has suffered much since his ships were lost at sea and the family fortune along with them. Belles father arrives home announcing he has come into a fortune that he will pick up the next day, along with gifts for his daughters, Belles shrewish sisters Adelaide. Belles roguish brother Ludovic signs a contract from a moneylender allowing him the ability to sue Ludovics father if he cant pay. Later, Belles father finds on his arrival that his fortune has been seized to clear his debts, Belles father gets lost in the forest and finds himself at a large castle whose gates and doors magically open themselves. On entering the castle, he is guided by an enchanted candelabra that leads him to a dinner table where he falls asleep. Awakened by a roar, he wanders the castles grounds. Remembering that Belle asked for a rose, he plucks a rose from a tree which makes the Beast appear, the Beast threatens to kill him for theft but then suggests that one of his daughters can take his place. The Beast offers his horse Magnificent to guide him through the forest home, Belles father explains the situation to his family and Avenant. Belle agrees to go and take her fathers place and she rides Magnificent to the castle, finding the Beast. Belle faints at the sight of him and is carried to her room in the castle, Belle awakens to find a magic mirror which allows her to see anything. The Beast invites Belle to dinner, where he tells her shes in equal command to him. Days pass as Belle grows more accustomed to and fond of the Beast, using the magic mirror, Belle finds her father deathly ill. The Beast grants her permission to leave for a week and he gives Belle two magical items, a glove that can transport her wherever she wishes and a golden key that unlocks Dianas Pavilion, the source of the Beasts true riches
Beauty and the Beast (1946 film)
–
Film poster
7.
Orpheus (film)
–
Orpheus is a 1950 French film directed by Jean Cocteau and starring Jean Marais. This film is the part of Cocteaus Orphic Trilogy, which consists of The Blood of a Poet, Orpheus. Set in contemporary Paris, the story of the film is a variation of the classic Greek myth of Orpheus, the picture begins with Orpheus, a famous poet, visiting the Café des Poètes. At the same time, a Princess and Cègeste, a handsome, the drunken Cègeste starts a brawl. When the police arrive and attempt to take Cègeste into custody, he breaks free and flees, the Princess has the police place Cègeste into her car in order to transport him to the hospital. She also orders Orpheus into the car in order to act as a witness, once in the car, Orpheus discovers Cègeste is dead and that the Princess is not going to the hospital. Instead, they drive to a chateau accompanied by the two motorcycle riders as abstract poetry plays on the radio and this takes the form of seemingly meaningless messages, like those broadcast to the French Resistance from London during the Occupation. At the ruined chateau, the Princess reanimates Cègeste into a state, and she, Cègeste. He wakes in a landscape, where he stumbles on the Princess chauffeur, Heurtebise. Heurtebise drives Orpheus home where Orpheus pregnant wife, Eurydice, a police inspector, when Orpheus comes home, he refuses to explain the details of the previous night despite the questions which linger over the fate of Cègeste, whose body cannot be found. Orpheus invites Heurtebise to live in his house and to store the Rolls in Orpheus garage, Eurydice attempts to tell Orpheus that she is with child, but is silenced when he rebuffs her. When Eurydice is killed by Deaths henchmen, Heurtebise proposes to lead Orpheus through the Zone into the Underworld in order to reclaim her, Orpheus reveals that he may have fallen in love with Death who has visited him in his dreams. Heurtebise asks Orpheus which woman he will betray, Death or Eurydice, Orpheus enters the afterlife by donning a pair of surgical gloves left behind by the Princess after Eurydices death. In the Underworld, Orpheus finds as a plaintiff before a tribunal which interrogates all parties involved in the death of Eurydice, Orpheus agrees and returns home with Eurydice. They are accompanied by Heurtebise, who has been assigned by the tribunal to assist the couple in adapting to their new, restrictive, Eurydice visits the garage where Orpheus constantly listens to the Rolls radio in search of the unknown poetry. When Orpheus glances at her in the mirror, Eurydice disappears, a mob from the Café des Poètes arrives in order to extract vengeance from Orpheus for what they suppose to be his part in the murder of Cègeste. Orpheus confronts them, armed with a given to him by Heurtebise. Orpheus dies and finds himself in the Underworld and this time, he declares his love to Death who has decided to herself die in order that he might become an immortal poet
Orpheus (film)
–
Theatrical release poster
8.
Swashbuckler
–
A swashbuckler is an heroic archetype in European adventure literature that is typified by the use of a sword and chivalric ideals. The archetype also became common as a film genre, a swashbuckler is a protagonist who is heroic and idealistic, he rescues damsels in distress, defends the downtrodden, and in general saves the day. Swashbucklers are not unrepentant brigands or pirates, although some may rise from such disreputable stations in redemption and his opponent is typically characterized as the dastardly villain. Swashbuckler is a compound of swash and buckler dating from the 16th century, the larger-than-life heroics portrayed in some film franchise adventures set in the modern era have been described as swashbuckling. Jeffrey Richards traces the swashbuckling novel to the rise of Romanticism, Medieval tales of chivalry, love and adventure rediscovered in the eighteenth century. This type of novel was further developed by Alexandre Dumas. John Galsworthy said of Robert Louis Stevensons 1888 swashbuckling romance, The Black Arrow, Anthony Hopes 1894, the The Prisoner of Zenda initiated an additional subset of the swashbuckling novel, the Ruritanian romance. Soon actors were taught to fence in an entertaining, dramatic manner, eventually fencing became an established part of a classical formation for actors. Consequently, when movie theaters mushroomed, ambitious actors took the chance to present their accordant skills on the screen. Since silent movies were no proper medium for long dialogues, the stories about heroes who would defend their honor with sword in hand were simplified. This was the birth of a new kind of film hero, four of the most famous instructors for swashbuckling swordplay are William Hobbs, Anthony De Longis, Bob Anderson and Peter Diamond. The genre has, apart from swordplay, always characterized by influences that can be traced back to the chivalry tales of Medieval Europe, such as the legends of Robin Hood. It soon created its own based on classic examples like The Mark of Zorro, The Three Musketeers. Some films did also use motifs of pirate stories, swashbucklers are one of the most flamboyant Hollywood film genres, unlike cinema verite or modern realistic filmmaking. The genre attracted large audiences who relished the blend of escapist adventure, historic romance, as a first variation of the classic swashbuckler there have also been female swashbucklers. Maureen OHara in Against All Flags and Jean Peters in Anne of the Indies were very early action film heroines, eventually the typical swashbuckler motifs were used up because they had so often been shown on TV screens. Later films such as The Princess Bride, the Pirates of the Caribbean series, television followed the films, especially in the UK, with The Adventures of Robin Hood, Sword of Freedom, The Buccaneers, and Willam Tell between 1955 and 1960. US TV produced two series of Zorro in 1957 and 1990, following the 1998 film The Mask of Zorro, a TV series about a female swashbuckler, the Queen of Swords, aired in 2000
Swashbuckler
–
D'Artagnan and the Three Musketeers.
Swashbuckler
–
R.L. Stevenson - The Black Arrow
9.
Stunt performer
–
A stunt performer, often referred to as a stuntman, stuntwoman, or daredevil, is someone who performs dangerous stunts, often as a career. A stuntman typically performs stunts intended for use in a picture or dramatized television. Stunts seen in films and television include car crashes, falls from height, drags. There is an inherent risk in the performance of all stunt work, the most risk exists when performing stunts in front of a live audience. In filmed performances, visible safety mechanisms can be removed by editing, in live performances the audience can see more clearly if the performer is genuinely doing what they claim or appear to do. To reduce the risk of injury or death, most often stunts are choreographed or mechanically-rigged so that, while they look dangerous, despite their well-choreographed appearance, stunts are still very dangerous and physically testing exercises. From its inception as a skill in the early 1900s to the 1960s. This allows them to break down and plan an action sequence, physically prepare themselves. However, even when executed perfectly, there is still strain, daredevils are distinct from stunt performers and stunt doubles, their performance is of the stunt itself, without the context of a film or television show. Daredevils often perform for an audience, live stunt performers include escape artists, sword swallowers, glass walkers, fire eaters, trapeze artists, and many other sideshow and circus arts. They also include motorcycle display teams and the once popular Wall of Death, the Jackass films and television series are well-known and prominent recorded examples of the act in modern cinematography. Some people, such as Buster Keaton, Harry Houdini, Jackie Chan, Akshay Kumar, Pawan Kalyan, Tony Jaa, the earliest stunt performers were travelling entertainers and circus performers, particularly trained gymnasts and acrobats. This acrobatic discipline required long training in the ring and perfect body control to present a performance to the public. The word stunt was more formally adopted during the 19th century travelling vaudeville performances of the early Wild West Shows, in North America, the first and prototypical wild west show was Buffalo Bills, formed in 1883 and lasting until 1913. The shows which involved simulated battles with the firing of both guns and arrows, were a romanticized version of the American Old West. Egerton Castle and Captain Alfred Hutton were part of a wider Victorian era group based in London, by the early 1900s, the motion picture industry was starting to fire-up on both sides of the Atlantic Ocean, but had no need for professional stunt performers. Firstly, motion pictures were so new that even if the producer had a budget for performers, there were more than enough applicants willing to do the scene for free. For instance, if you needed a shot of someone on a steel beam 1,000 feet up on a New York skyscraper, then there was always willing to do the scene for real
Stunt performer
–
Pyrotechnics stunt exhibition by "Giant Auto Rodéo",
Ciney,
Belgium
Stunt performer
–
Circus performers doing an automobile stunt in
Delorimier Stadium,
Montreal, in 1946
Stunt performer
–
Harold Lloyd in 1923's
Safety Last!, hanging (safely) from the clock tower. Lloyd may have been influenced by the real life stunts of
Rodman Law a decade earlier
10.
Sculptor
–
Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
Sculptor
–
The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a
Hellenistic work of the late 3rd century BCE
Capitoline Museums, Rome
Sculptor
–
Michelangelo 's
Moses, (c. 1513–1515), housed in the church of
San Pietro in Vincoli in
Rome. The sculpture was commissioned in 1505 by
Pope Julius II for his
tomb.
Sculptor
–
Assyrian
lamassu gate guardian from
Khorsabad, c. 721–800 BCE
Sculptor
–
Netsuke of tigress with two cubs, mid-19th century Japan, ivory with shell inlay
11.
Montmartre
–
Montmartre is a large hill in Pariss 18th arrondissement. It is 130 m high and gives its name to the surrounding district, Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, Montmartre is also the setting for several hit films. This site is served by metro, with line 2 stations at Anvers, Pigalle, and Blanche and line 12 stations at Pigalle, Abbesses, Lamarck - Caulaincourt, texts from the 8th century cite the name of mons Mercori, and a 9th-century text speaks of Mount Mars. Excavations in 1975 north of the Church of Saint-Pierre found coins from the 3rd century, earlier excavations in the 17th century at the Fontaine-du-But found vestiges of Roman baths from the 2nd century. According to Hilduin, Denis collected his head and carried it as far as the fontaine Saint-Denis, then descended the slope of the hill. Hilduin wrote that a church had built in the place formerly called Mont de Mars. In 1134, king Louis VI purchased the Merovingian chapel and built on the site the church of Saint-Pierre de Montmartre and he also founded The Royal Abbey of Montmartre, a monastery of the Benedictine order, whose buildings, gardens and fields occupied most of Montmartre. He also built a chapel, called the Martyrium, at the site where it was believed that Saint Denis had been decapitated. It became a pilgrimage site. In the 17th century, a priory called abbaye den bas was built at that site, the abbey was destroyed in 1790 during the French Revolution, and the convent demolished to make place for gypsum mines. The church of Saint-Pierre was saved, at the place where the chapel of the Martyrs was located, an oratory was built in 1855. By the 15th century, the north and northeast slopes of the hill were the site of a surrounded by vineyards, gardens and orchards of peach. The first mills were built on the slope in 1529, grinding wheat, barley. The siege eventually failed when a relief force approached and forced Henry to withdraw. In 1790, Montmartre was located just outside the limits of Paris and that year, under the revolutionary government of the National Constituent Assembly, it became the commune of Montmartre, with its town hall located on place du Tertre, site of the former abbey. The main businesses of the commune were wine making, stone quarries, the mining of gypsum had begun in the Gallo-Roman period, first in open air mines and then underground, and continued until 1860. The gypsum was cut into blocks, baked, then ground, sold as montmartarite, it was used for plaster, because of its resistance to fire and water
Montmartre
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Montmartre, dominated by the
Basilica of the Sacré Cœur
Montmartre
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Saint-Pierre de Montmartre (1133) seen from the dome of the Basilica of the Sacré-Cœur.
Montmartre
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The Moulin de la Galette, painted by
Vincent Van Gogh in 1887 (Carnegie Museum of Art).
Montmartre
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The Chapel of the Martyrs of Monmartre Abbey in the 17th century
12.
The Smiths
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The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke, critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s. The NME named the Smiths the most influential artist ever in a 2002 poll, four of their albums appeared on Rolling Stones list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-LP singles, the Smiths had several singles reach the UK top twenty and all four of their studio albums reached the UK top five, including one which topped the charts. They won a significant following and remain cult favourites, although they had limited success outside the UK while they were still together. The band broke up in 1987 and have turned down offers to reunite. The bands focus on a guitar, bass, and drum sound, Marrs guitar-playing on his Rickenbacker often had a jangly sound reminiscent of Roger McGuinn of the Byrds. Marrs guitar-playing influenced later Manchester bands, including the Stone Roses, Morrissey and Marrs songs combined themes about ordinary people with complex, literate lyrics delivered by Morrissey with a mordant sense of humour. In 2014 and 2015, they were nominated for induction into the Rock, on 31 August 1978, Morrissey was briefly introduced to the 14-year-old Johnny Marr by mutual acquaintances Billy Duffy and Howard Bates at a Patti Smith gig held at Manchesters Apollo Theatre. According to Morrissey, We got on absolutely famously and we were very similar in drive. Conversing, the two found that they were fans of many of the same bands, the next day, Morrissey phoned Marr to confirm that he would be interested in forming a band with him. A few days later, Morrissey and Marr held their first rehearsal in Marrs rented attic room in Bowdon, the next song that they worked on was titled The Hand that Rocks the Cradle, which again was based on lyrics produced by Morrissey. Marr included a tempo which was based on the Patti Smith song Kimberly, the third track that the duo worked on was Suffer Little Children. Around the time of the formation, Morrissey decided that he would be publicly known only by his surname. In 1983 he forbade those around him using the name of Steven. After remaining with the band for rehearsals, Pomfret departed un-amicably. He was replaced by the bass player Dale Hibbert, who worked at Manchesters Decibel Studios and it was through Hibbert that the Smiths were able to record their first demo at Decibel, doing so one night in August 1982. Aided by drummer Simon Wolstencroft, whom Marr had worked with in Freak Party, meanwhile, Morrissey took the demo recording to Factory Records, but Factorys Tony Wilson wasnt interested
The Smiths
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The Smiths in 1985. Left to right: Andy Rourke, Morrissey, Johnny Marr, Mike Joyce
The Smiths
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Morrissey in 2006
The Smiths
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Johnny Marr
The Smiths
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Rourke in 2011
13.
This Charming Man
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This Charming Man is a song by the English rock band the Smiths, written by guitarist Johnny Marr and singer/lyricist Morrissey. It was released as the second single in October 1983 on the independent record label Rough Trade. The song is defined by Marrs jangle pop guitar riff and Morrisseys characteristically morose lyrics, feeling detached from and unable to relate to the early 1980s mainstream gay culture, Morrissey wrote This Charming Man to evoke an older, more coded and self-aware underground scene. Although only moderately successful on first release—the single peaked at number 25 on the British singles chart, the single was re-issued in 1992, reaching number 8 on the UK singles chart. In 2004, BBC Radio 2 listeners voted it number 97 on the stations Sold on Song Top 100 poll, mojo magazine journalists placed the track at number 1 on their 200850 Greatest UK Indie Records of All Time feature. It has also reached Silver status in the UK, by early 1983, the Smiths had gained a large following on the UK live circuit and had signed a record deal with the indie label Rough Trade. The deal, along with positive reviews in the weekly music press. In a music scene dominated by corporate and video-driven acts, the Smiths camp and bookish image stood out, and many expected the band to be the breakthrough act of the UK post-punk movement. The previous October Frankie Goes to Hollywood released their iconic track Relax, which was seen as an anthem to an out alpha male self-assertiveness, and alien to many UK homosexuals. However, the Smiths May 1983 debut single Hand in Glove failed to live up to critical and commercial expectations, mostly due to its perceived low production values. When Rough Trade label mates Aztec Camera began to receive day-time national radio-play with their track Walk out to Winter, Marr admitted to feeling a little jealous, my competitive urges kicked in. The guitarist believed the Smiths needed a song, in a major key. Marr wrote the music to This Charming Man especially for the Peel session on the night that he wrote Still Ill. The Smiths entered Matrix Studios in London on September 1983 to record a studio version of the song for release as a single. However, the result—known as the London version—was unsatisfactory and soon after, here, they recorded the more widely heard A-side. The lyrics of This Charming Man comprise a first person narrative in which the male protagonist punctures one of his bicycles wheels on a remote hillside. A passing charming man in a car stops to offer the cyclist a lift. While driving together the pair flirt, although the protagonist finds it difficult to overcome his reluctance, I would go out tonight, the motorist tells the cyclist, its gruesome that someone so handsome should care
This Charming Man
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"This Charming Man"
14.
Alpes-Maritimes
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Alpes-Maritimes is a department of the Provence-Alpes-Côte dAzur region in the extreme southeast corner of France. The inhabitants of the department are called Maralpins, but are referred to as Azuréens. The Alpes-Maritimes department is surrounded by the departments of Var in the southwest, Alpes-de-Haute-Provence in the north-west, Italy, and it surrounds the Principality of Monaco on the west, north, and east. The highest point of the department is the Cime du Gélas on the Franco-Italian border which dominates the Vallée des Merveilles further east, in fact the summit of Monte Argentera is certainly higher at 3297 m above sea level but it is located in Italian territory. There is also Mount Mounier which dominates the south of the vast Dôme de Barrot which is formed of a mass of more than 900 m thick red mudstones deeply indented by the gorges of Daluis and Cians. Except in winter, four passes allow passage to the north of the Mercantour/Argentera mountain range whose imposing 62 km long barrier covered in snow which is visible from the coast. From the west the Route des Grandes Alpes enters the Cayolle Pass first on the way to the Alps, then the route follows the Col de la Bonette - the highest pass in Europe at 2715 m - to connect to the valley of the Tinée then the Ubaye. Further east, the Lombard pass above Isola 2000 allows access to the shrine of Saint-Anne de Vinadio in Italy, finally, at its eastern end, the Col de Tende links with Cuneo in Italy. The rivers in order are, It is the climate that made the Côte dAzur famous. The coastal area has a Mediterranean climate, towards the interior, especially in the north, a mountain climate. One of the attractions of the department is its level of sunshine,300 days per year, despite this the department is also the most stormy of France with an average of 70 to 110 thunderstorm days per year. Alpes-Maritimes is divided into 2 arrondissements, the Grasse and the Nice,27 cantons and 163 communes, in 2002 there were 14 intercommunalities. At its greatest extent in AD297, the province reached north to Digne, a first French département of Alpes-Maritimes existed in the same area from 1793 to 1814. Its boundaries differed from those of the department, however. In 1793 Alpes-Maritimes included Monaco and San Remo, but not Grasse which was part of the départment of Var. Sanremo, cantons, Sanremo, Bordighera, Dolceacqua, Pigna, Taggia, Triora, Puget-Théniers, cantons, Puget-Théniers, Beuil, Gilette, Guillaumes, Roquesteron, Saint-Étienne-de-Tinée and Villars-sur-Var. Its population in 1812 was 131,266, and its area was 322,674 hectares, the department was reconstituted in 1860 when the county of Nice was annexed by France. It included the county of Nice as well as the independent towns of Menton and Roquebrune
Alpes-Maritimes
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Nice & Côte d'Azur
Alpes-Maritimes
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Sign welcoming visitors to Alpes-Maritimes.
Alpes-Maritimes
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Belvédère in the Vesubie valley, one of the many villages perched in the Alpes-Maritime.
Alpes-Maritimes
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Geography of the Department of Alpes-Maritimes
15.
Vallauris
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Vallauris is a commune in the Alpes-Maritimes department in the Provence-Alpes-Côte dAzur region in southeastern France. It is located in the metropolitan and is effectively an extension of the town of Antibes. In 1948 Picasso came to live in Vallauris, where he stayed until 1955, during his time in the town, he created a great many sculptures and paintings including War and Peace, one of the major artworks of the period. He also developed a fascination for the techniques of ceramics and linocuts, many inhabitants still evoke his presence and that of his contemporaries, the bullfights, exhibitions and visits by all kinds of famous people. Golfe-Juan is a town, part of the commune of Vallauris. Communes of the Alpes-Maritimes department INSEE Official website
Vallauris
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Golfe-Juan
16.
The Last Metro
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The Last Metro is a 1980 drama film made by Les Films du Carrosse, written and directed by the French filmmaker François Truffaut, and starring Catherine Deneuve and Gérard Depardieu. In 1981, the film won ten Césars for, best film, best actor, best actress, best cinematography, best director, best editing, best music, best production design, best sound and it received Best Foreign Film nominations in the Academy Awards and Golden Globes. The title The Last Metro refers to the fact that during the occupation it was imperative that Parisians catch the last train home and this was to avoid breaking the strict curfew imposed by the Nazis. This event was recreated in The Last Metro. Truffaut was stimulated by the actor Jean Marais’ autobiography and by documents of theatre people from during the occupation of which he based the film upon. This film was one instalment—dealing with theatre—of a trilogy on the entertainment world that Truffaut had planned, the instalment that dealt with the film world was 1973s La Nuit Américaine, which had won the Academy Award for Best Foreign Language Film. Truffaut completed the screenplay for the third instalment, LAgence Magique, in the late 1970s he was close to beginning filming, but the failure of his film The Green Room forced him to look to a more commercial project, and he filmed Love on the Run instead. Truffaut began casting in September 1979, and he wrote the role of Marion especially with Catherine Deneuve in mind for her energy, Gérard Depardieu initially did not want to be involved in the film, as he did not like Truffaut’s directing style, but he was later convinced. Most of the filming took place in a chocolate factory on Rue du Landy in Clichy. During shooting Deneuve suffered an ankle sprain from a fall, resulting in having to shoot scenes at short notice. Scriptwriter Suzanne Schiffman was also hospitalised with an intestinal obstruction. The film shoot lasted fifty-nine days and ended on April 21,1980, a recurring theme in Truffaut’s films has been linking film making and film watching. The Last Metro is self-conscious in this respect, in the opening the film mixes documentary footage with period re-creations alongside shots of contemporary film posters. The film recorded admissions in France of 3,384,045. criterion
The Last Metro
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Film poster
17.
Le Bonheur (1934 film)
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This page is about the French film. For the Soviet film, see Happiness, Le Bonheur is a 1934 French film directed by Marcel LHerbier. The rights to the play were held by the Pathé-Natan company, who also had a contract with Gaby Morlay, philippe Lutcher, an anarchist, fires a shot at Clara Stuart, a famous stage and screen actress, but only wounds her. The star, through affectation and curiosity to know his motives, pleads in his favour at his trial, after he has served 18 months in prison, they meet and fall in love. Philippe however does not really believe in Claras sincerity, and when he sees incidents from their lives becoming part of her latest film and he vows that their love will continue when he sits in the dark and watches her on the cinema screen. LHerbiers assistant directors were Ève Francis and Jean Dréville, towards the end of filming, LHerbier suffered an accident when a camera fell on him from an insecure track. He suffered a broken wrist and permanent damage to one eye and he undertook a prolonged legal action against the Pathé company in which the director argued for his status as an author of the film rather than just a technician employed by the company. He eventually won the case, and it marked the first time that a director in France was legally recognised as having rights of authorship in his work. On its release Le Bonheur proved very popular with the public and was well received by the French critics. However, after three years of distribution the film disappeared from sight for nearly 40 years. It was only in the 1970s that it was revived and recognised as one of the most significant achievements among LHerbiers sound films, in February 1935, the film was shown at the first Moscow Film Festival and it received a special mention of honour from the Soviet jury. Le Bonheur at the Internet Movie Database
Le Bonheur (1934 film)
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Le Bonheur
18.
Henri Decoin
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Henri Decoin was a French film director and screenwriter, who directed more than 50 films between 1933 and 1964. He was also a swimmer who won the title in 1911. He competed in the 400 m freestyle at the 1908 Summer Olympics, during World War I Decoin served as a pilot. After that he worked as a sports journalist for LAuto, LIntransigeant and he worked with such stars of French cinema as Jean Marais, Louis Jouvet, Juliette Gréco, Lino Ventura, Corinne Calvet, Anouk Aimée, and Jean Gabin, to name a few. He directed Darrieux in several films, and accompanied her to Hollywood in 1938 while she signed a Universal Pictures contract and he took the opportunity to observe how Hollywood made films, and returned to France with these techniques in hand. Decoin was one of the prolific directors of his time. His second marriage was to actress and singer Danielle Darrieux and he had two sons, Jacques Decoin and Didier Decoin who was also a prominent screenwriter. Henri Decoin at the Internet Movie Database Henri Decoin at AllMovie
Henri Decoin
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Henri Decoin in 1919
19.
Bizarre, Bizarre
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Bizarre, Bizarre is a 1937 French comedy film directed by Marcel Carné. It is based on the 1912 novel His First Offence by J. Storer Clouston, botanist/famed undercover crime novelist Irwin Molyneux goes undercover after being accused of spousal homicide by his brother in law, bishop Soper. Bizarre, Bizarre at the Internet Movie Database Bizarre, Bizarre at AllMovie His First Offence
Bizarre, Bizarre
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DVD cover
20.
Jean Delannoy
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Jean Delannoy was a French actor, film editor, screenwriter and film director. Although Delannoy was born in a Paris suburb, his family was from Haute-Normandie in the north of France and he was a student in Paris when he began acting in silent films. He eventually landed a job with Paramount Studios Parisian facilities, working his way up to film editor. In 1934 he directed his first film and went on to a long career, in 1946, his film about a Protestant minister titled La symphonie pastorale was awarded the Palme dOr at the Cannes Film Festival. In 1960, his film, Maigret tend un piège was nominated for a BAFTA award for Best Film from any Source, in recognition of his long service to the French motion picture industry, in 1986 Delannoy received an Honorary César Award. Delannoy died on 18 June 2008, at the age of 100
Jean Delannoy
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Jean Delannoy, 2000s.
21.
The Eagle with Two Heads
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The Eagle with Two Heads is a French film directed by Jean Cocteau released in 1948. It was adapted from his own play LAigle à deux têtes which was first staged in 1946, on the 10th anniversary of the assassination of the king, his reclusive widow, the Queen, arrives to spend the night at the castle of Krantz. Stanislas, a young anarchist poet who seeks to assassinate her, enters her room, wounded, he looks exactly like the king. She sees him as the embodiment of her own death. In order to true to their ideals and to each other, the Queen and Stanislas have to play their parts in a bizarre private tragedy. Filming began in October 1947 at the Château de Vizille, christian Bérard supervised the art direction, and the sumptuous sets and costumes evoked a royal palace in an imaginary kingdom of 19th century middle-Europe. Georges Auric expanded the music which he had written for the production into a full score for the film. The film was released in Paris in September 1948 and its reception among French critics was mixed. It was appreciated for the quality of its spectacle and for the elevated performances of its actors. Others however felt that its artificiality belonged to another age and another medium, and that Cocteau had not sufficiently emancipated his film from its theatrical origins. When the film was shown in New York in 1948 and in London in 1949, the film has in general not enjoyed the same attention as the others which Cocteau directed in the 1940s. LAigle à deux têtes at the Internet Movie Database LAigle à deux têtes at AllMovie LAigle à deux têtes at the British Film Institutes Film and TV Database LAigle à deux têtes at filmsdefrance. com
The Eagle with Two Heads
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The Eagle with Two Heads
22.
Les Parents terribles (film)
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Les Parents terribles is a 1948 film adaptation directed by Jean Cocteau from his own stage play Les Parents terribles. Cocteau used the same cast who had appeared in a stage revival of the play in Paris in 1946. The film has sometimes been known by the English title The Storm Within, cocteaus stage play Les Parents terribles was first produced in Paris in 1938, but its run suffered from a number of disruptions, first from censorship and then the outbreak of war. In 1946 it was revived in a production which brought several of the actors for whom Cocteau had originally conceived their roles, notably Yvonne de Bray, Gabrielle Dorziat. Cocteau said that he wanted to film his play for three reasons, first, to record the performances of incomparable actors, second, mingle with them myself and look them full in the face instead of seeing them at a distance on the stage. I wanted to put my eye to the keyhole and surprise them with a telescopic lens, in a rambling apartment a middle-aged couple, Yvonne and Georges, live with their 22-year-old son Michel and Yvonnes spinster sister Léonie, who has also been in love with Georges. The family visit Madeleine in her apartment where they are impressed by her modest, michels initial joy at this apparent reconciliation turns to despair as Madeleine is blackmailed into rejecting him by Georgess secret threats. Yvonne consoles her son with satisfaction as they return home, Léo however is appalled by the cruelty and selfishness of what has been done and decides to support Madeleine. The next day Léo persuades Georges, and then the more reluctant Yvonne, Michel and Madeleine are joyfully reunited, but Yvonne is unnoticed as she slips away and poisons herself. When the others realise what she has done, it is too late to save her, a new order is established in the roulotte. He wrote no additional dialogue for the film, but substantially pruned the stage text, the translation from theatre to screen was a challenge which Cocteau relished, he wrote, What is exciting about the cinema is that there is no syntax. You have to invent it as and when problems arise, what freedom for the artist and what results one can obtain. Filming took place between 28 April and 3 July 1948 at the Studio Francœur, cocteaus assistant director was Raymond Leboursier, who was joined by Claude Pinoteau. At the time of shooting the final shot, some tracks for the camera produced a shaky image on the film. The correspondence between image and text has never been so complete, so convincing, Bazin highlights three features which assist this transition. Thirdly, Bazin notes the psychological subtlety with which Cocteau chooses his camera positions to match the responses of his ideal spectator, in all of these aspects, the theatricality of the play is preserved but intensified through the medium of film. Cocteau himself came to regard Les Parents terribles as his best film and this opinion has frequently been endorsed by later critics and historians of cinema. Les Parents terribles Les Parents terribles at the Internet Movie Database
Les Parents terribles (film)
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Les Parents terribles
23.
Cameo appearance
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A cameo role or cameo appearance is a brief appearance or voice part of a known person in a work of the performing arts, typically unnamed or appearing as themselves. Short appearances by celebrities, film directors, politicians, athletes or musicians are common, a crew member of the show or movie playing a minor role can be referred to as a cameo as well, such as Alfred Hitchcocks frequently performed cameos. Originally cameo role meant a character part that stands out from the other minor parts. The Oxford English Dictionary connects this with the meaning a short literary sketch or portrait, which is based on the meaning of cameo. More recently, cameo has come to refer to any short appearances, whether as a character or as oneself, such as the examples below. Cameos are generally not credited because of their brevity, or a mismatch between the celebritys stature and the film or TV show in which he or she is appearing. Others are acknowledgments of a contribution to an earlier work, as in the case of many film adaptations of TV series. Others honour artists or celebrities known for work in a particular field, possibly the best-known series of cameos was by the director Alfred Hitchcock, who made very brief appearances in most of his films. Cameos also occur in novels and other literary works, “Literary cameos” usually involve an established character from another work who makes a brief appearance to establish a shared universe setting, to make a point, or to offer homage. Balzac often employed this practice, as in his Comédie humaine, a cameo appearance can be made by the author of a work to put a sort of personal signature on a story. Vladimir Nabokov often put himself in his novels, for instance, quentin Tarantino provides cameos or small roles in at least 10 of his movies. Likewise, Peter Jackson has made cameos in all of his movies, except for his first feature-length movie Bad Taste in which he plays a main character. For example, he plays a peasant eating a carrot in The Fellowship of the Ring and The Desolation of Smaug, a Rohan warrior in The Two Towers, director Martin Scorsese appears in the background of his films as a bystander or an unseen character. In Whos That Knocking at My Door, he appears as one of the gangsters, he is a crew man in After Hours. He opens up his 1986 film The Color of Money with a monologue on the art of playing pool. In addition, he appears with his wife and daughter as wealthy New Yorkers in Gangs of New York, in a same way, Roman Polanski appears as a hired hoodlum in his film Chinatown, slitting Jack Nicholsons nose with the blade of his clasp knife. Directors sometimes cast well-known lead actors with whom they have worked in the past in other films, mike Todds film Around the World in 80 Days was filled with cameo roles, and others. The stars in cameo roles were pictured in oval insets in posters for the film, among the many cameos featured in the film Maverick, actor Danny Glover appears as the lead bank robber
Cameo appearance
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Alfred Hitchcock (left) in
Notorious
24.
Maquis (World War II)
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The Maquis were rural guerrilla bands of French Resistance fighters, called maquisards, during the Occupation of France in World War II. Initially, they were composed of men who had escaped into the mountains to avoid conscription into Vichy Frances Service du travail obligatoire to provide forced labor for Germany, to avert capture and deportation to Germany, they became increasingly organized into active resistance groups. Originally the word came from the kind of terrain in which the resistance groups hid. Although strictly meaning thicket, maquis could be translated as the bush. The term established the image of a ‘maquisard’ as a “committed and voluntary fighter, members of those bands were called maquisards. The term became an honorific that meant armed resistance fighter, the Maquis have come to symbolize the French Resistance. Most maquisards operated in the remote or mountainous areas of Brittany and southern France, especially in the Alps and they relied on guerrilla tactics to harass the Milice and German occupation troops. The Maquis also aided the escape of downed Allied airmen, Jews and others pursued by the Vichy, Maquisards usually relied on some degree of sympathy or cooperation from the local populace. In March 1944, the German Army began a campaign throughout France. This included reprisals against civilians living in areas where the French Resistance was active, the Maquisards were later to take their revenge in the épuration sauvage that took place after the wars end. Most of the Maquis cells—like the Maquis du Limousin or the Maquis du Vercors—took names after the area they were operating in, the size of these cells varied from tens to thousands of men and women. They were supplied by airlifts of the British Force 136, politically, the Maquis were very diverse—including right-wing nationalists, socialists, communists, and anarchists. Some Maquis bands that operated in southwest France, were composed entirely of left-wing Spanish veterans of the Spanish Civil War, Spanish Civil War veteran Colonel Romero Giménez was a center-democratic liberal, operating from Bordeaux. When Germany began a forced draft in France at the beginning of 1943. The British Special Operations Executive helped the Maquis with supplies and agents, the American Office of Strategic Services also began to send its own agents to France in cooperation with the SOE and the French BCRA agents, as part of Operation Jedburgh. The British government provided supplies and support to assist Charles de Gaulle to unify the Free French resistance movement, prior to the inception of the maquis, small resistance groups were created in the occupied and unoccupied zones of France. Some of these also took the first steps at hiding weapons. The connection between the Vichy government and armed resistance paved the way for the formation of the Maquis
Maquis (World War II)
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Members of the Maquis in La Tresorerie
Maquis (World War II)
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Maquisards (Resistance fighters) in the
Haute-Savoie département in August 1944. Third and fourth from the left are two SOE officers.
25.
Georg Wilhelm Pabst
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Georg Wilhelm Pabst, known professionally as G. W. Pabst, was an Austrian theatre and film director. Pabst was born in Raudnitz, Bohemia, Austria-Hungary, the son of a railroad official, while growing up in Vienna, he studied drama at the Academy of Decorative Arts and initially began his career as a stage actor in Switzerland, Austria and Germany. In 1910, Pabst traveled to the United States, where he worked as an actor and director at the German Theater in New York City, when World War I began, Pabst returned to Europe, where he was interned in a Prisoner-of-war camp in Brest. While imprisoned, Pabst organised a group at the camp. Upon his release in 1919, he returned to Vienna, where he director of the Neue Wiener Bühne. Pabst began his career as a director at the behest of Carl Froelich who hired Pabst as an assistant director. He directed his first film, The Treasure, in 1923 and he developed a talent for discovering and developing the talents of actresses, including Greta Garbo, Asta Nielsen, Louise Brooks, and Leni Riefenstahl. He also co-directed with Arnold Fanck a mountain film entitled The White Hell of Pitz Palu starring Leni Riefenstahl, after the coming of sound, he made a trilogy of films that secured his reputation, Westfront 1918, The Threepenny Opera with Lotte Lenya, and Kameradschaft. Pabst also filmed three versions of Pierre Benoits novel LAtlantide in 1932, in German, English, and French, titled Die Herrin von Atlantis, The Mistress of Atlantis, in 1933, Pabst directed Don Quixote, once again in German, English, and French versions. After making A Modern Hero in the U. S. and Mademoiselle Docteur in France, Pabst returned to Austria and Germany in 1938 to take care of family business, during World War II, he made two films in Germany, Komödianten and Paracelsus. In 1955, he directed the first post-war German feature film to feature the character of Adolf Hitler, on 29 May 1967, Pabst died in Vienna at the age of 82. He was interred at the Zentralfriedhof in Vienna,1941, Venice Film Festival, Gold Medal of the Biennale for Best Director for his film Komödianten Max Deutsch, composer Notes Further reading Amengual, Barthélémy. Boston, Twayne Publishers,1977 Baxter, John, Pabst in International Directory of Films and Filmmakers. Firenze, La Nuova Italia,1983 Jacobsen, Wolfgang G. W, berlin, Argen,1997 Kagelmann, Andre and Keiner, Reinhold. Ihre letzen Tage an der Westfront 1918, une histoire psychologique du cinéma allemand, Paris, Flammarion,1987 Mitry, Jean. Histoire du cinéma, Art et industrie Paris, Editions Universitaires – J. P. Delarge, 1967–1980 Rentschler, New Brunswick, Rutgers University Press,1990 Pabst, Georg Wilhelm. Servitude et grandeur de Hollywood in Le rôle intellectuel du cinéma, Paris, pp. 251–255 Van den Berghe, Marc. Le film et sa problématique vus par la Petite Illustration, Bruxelles,200 G. W. Pabst at the Internet Movie Database G. W. Pabst at Find a Grave
Georg Wilhelm Pabst
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G. W. Pabst during production of the film L'Opéra de quat'sous (
The Threepenny Opera) in 1931
Georg Wilhelm Pabst
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Grave of G. W. Pabst, his wife and son at the
Zentralfriedhof in Vienna
26.
Yves Ciampi
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Yves Ciampi was a French film director. He was married to Japanese actress Kishi Keiko from 1957 to 1975 and his 1965 film Heaven on Ones Head was entered into the 4th Moscow International Film Festival where it won a Golden Prize. In 1969 he was a member of the jury at the 6th Moscow International Film Festival,1961, Liberté I1965, Le Ciel sur la tête 1969, A quelques jours près Yves Ciampi at the Internet Movie Database
Yves Ciampi
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Yves Ciampi (1957)
27.
Royal Affairs in Versailles
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Royal Affairs in Versailles is a 1954 French historical drama directed by Sacha Guitry, which tells some episodes through portrayal of the personalities who lived in Versailles castle. Its sister films are Napoléon and If Paris Were Told to Us, the film is notable for the presence of a great number of well-known French actors, often appearing in short parts. One unknown actor playing a character is Gilbert Bokanowski portraying Louis XVI. Bokanowski was actually the production manager and was cast because of his strong resemblance to the monarch. Its English translation title is If Versailles Were Told to Me, despite French production, the film is best known by its English title Royal Affairs in Versailles. Historical human stories in connection with the Royal Palace, the Chateau of Versailles
Royal Affairs in Versailles
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Theatrical release poster
28.
Louis XV of France
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Louis XV, known as Louis the Beloved, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1 September 1715 until his death. He succeeded his great-grandfather Louis XIV at the age of five, Cardinal Fleury was his chief minister from 1726 until the Cardinals death in 1743, at which time the young king took sole control of the kingdom. During his reign, Louis returned the Austrian Netherlands, territory won at the Battle of Fontenoy of 1745, Louis also ceded New France in North America to Spain and Great Britain at the conclusion of the Seven Years War in 1763. He incorporated the territories of Lorraine and Corsica into the kingdom of France and he was succeeded by his grandson Louis XVI in 1774. French culture and influence were at their height in the first half of the eighteenth century, however, many scholars believe that Louis XVs decisions damaged the power of France, weakened the treasury, discredited the absolute monarchy, and made it more vulnerable to distrust and destruction. Evidence for this view is provided by the French Revolution, which broke out 15 years after his death, norman Davies characterized Louis XVs reign as one of debilitating stagnation, characterized by lost wars, endless clashes between the Court and Parliament, and religious feuds. A few scholars defend Louis, arguing that his negative reputation was based on propaganda meant to justify the French Revolution. Jerome Blum described him as a perpetual adolescent called to do a mans job, Louis XV was born in the Palace of Versailles on 15 February 1710 during the reign of Louis XIV. His grandfather, Louis Le Grand Dauphin, had three sons with his wife Marie Anne Victoire of Bavaria, Louis, Duke of Burgundy, Philippe, Duke of Anjou, and Charles, Duke of Berry. Louis XV was the son of the Duke of Burgundy and his wife Marie Adélaïde of Savoy, the eldest daughter of Victor Amadeus II, Duke of Savoy. At birth, Louis XV received a title for younger sons of the French royal family. In April 1711, Louis Le Grand Dauphin suddenly died, making Louis XVs father, the Duke of Burgundy, at that time, Burgundy had two living sons, Louis, Duke of Brittany and his youngest son, the future Louis XV. A year later, Marie Adélaïde, Duchess of Burgundy, contracted smallpox and her husband, said to be heartbroken by her death, died the same week, also having contracted smallpox. Within a week of his death, it was clear that the two children had also been infected. The elder son was treated by bloodletting in an unsuccessful effort to save him. Fearing that the Dauphin would die, the Court had both the Dauphin and the Duke of Anjou baptised, the Dauphin died the same day,8 March 1712. His younger brother, the Duke of Anjou, was treated by his governess, Madame de Ventadour. The two year old Dauphin survived the smallpox, on 1 September 1715, Louis XIV died of gangrene, having reigned for 72 years
Louis XV of France
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Louis XV by
Hyacinthe Rigaud (1730)
Louis XV of France
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Signature
Louis XV of France
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The duke of Brittany with his father Louis, Duke of Burgundy, his grandfather Louis, Le Grand Dauphin and his great-grandfather King Louis XIV in 1709. The future Louis XV, not yet born, is not on the painting.
Louis XV of France
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Two
Louis d'or, 1717, depicting a very young Louis XV
29.
Sacha Guitry
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Alexandre-Pierre Georges Sacha Guitry was a French stage actor, film actor, director, screenwriter, and playwright of the Boulevard theatre. He was the son of a leading French actor, Lucien Guitry and he became known for his stage performances, often in boulevardier roles, in the many plays he wrote, of which there were more than 120. He was married five times, always to rising actresses whose careers he furthered, probably his best-known wife was Yvonne Printemps to whom he was married between 1919 and 1932. Guitrys plays range from historical dramas to contemporary light comedies, some have musical scores, by composers including André Messager and Reynaldo Hahn. When silent films became popular Guitry avoided them, finding the lack of spoken dialogue fatal to dramatic impact, from the 1930s to the end of his life he enthusiastically embraced the cinema, making as many as five films in a single year. The later years of Guitrys career were overshadowed by accusations of collaborating with the occupying Germans after the capitulation of France in the Second World War, the charges were dismissed, but Guitry, a strongly patriotic man, was disillusioned by the vilification by some of his compatriots. By the time of his death his popular esteem had been restored to the extent that 12,000 people filed past his coffin before his burial in Paris. Guitry was born at No 12 Nevsky Prospect, Saint Petersburg, Russia, the couple had eloped, in the face of family disapproval, and were married at St Martin in the Fields, London, in 1882. They then moved to the Russian capital, where Lucien ran the French theatre company, Guitry senior was a persistent adulterer, and his wife instituted divorce proceedings in 1888. Two of their sons died in infancy, the surviving son, Jean became an actor. The familys Russian nurse habitually shortened Alexandre-Pierres name to the Russian diminutive Sacha, the young Sacha made his stage debut in his fathers company at the age of five. Lucien Guitry, considered the most distinguished actor in France since Coquelin, was immensely successful, when he returned to Paris he lived in a flat in a prestigious spot, overlooking the Place Vendôme. and the Rue de la Paix. The young Sacha lived there, and for his schooling he was first sent to the well-known Lycée Janson de Sailly in the fashionable Sixteenth arrondissement. He did not stay there, and went to a succession of other schools. After giving up school Guitry embarked on a career as a playwright with a musical piece called Le Page, with a score by Ludo Ratz. Eighteen months later he joined his fathers company at the Théâtre de la Renaissance, at first he appeared under the stage name Lorcey, the pseudonym deceived no-one, as the press immediately announced the debutants real identity. His first role was in LEscalier, by Maurice Donnay in November 1904 and he fell out with his father over what the latter saw as Guitrys lack of professionalism. In the aftermath of their quarrel they neither saw nor spoke to one another, a member of Lucien Guitrys company was a young actress, Charlotte-Augustine-Hortense Lejeune, whose stage name was Charlotte Lysès
Sacha Guitry
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Sacha Guitry in 1931
Sacha Guitry
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Guitry and Printemps in
Mozart (1925)
Sacha Guitry
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Guitry by
Léon Gard
30.
Futures vedettes
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School for Love is a French drama film from 1955, directed by Marc Allégret, written by Marc Allégret, starring Brigitte Bardot and Jean Marais. The scenario was based on a novel of Vicki Baum, the film was known under the title Joy of Living or School for Love, Sweet Sixteen, Reif auf jungen Blüten. Tenor Eric Walter is a teacher at a conservatory of Vienna and he is separated from his wife, opera singer Marie. He begins seeing one of the students, Sophie, another student, Elisa, becomes jealous at this. The film performed poorly at the French box office, School for Love at the Internet Movie Database Future Vendettes at TCMDB Future Vendettes at BFI Futures vedettes at the Films de France
Futures vedettes
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School for Love
31.
Charles Tristan, marquis de Montholon
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Charles Tristan, marquis de Montholon was a French general during the Napoleonic Wars. He chose to go into exile on Saint Helena with the ex-Emperor after Napoleons second abdication, Montholon was born in Paris and was trained for a military career from a young age. In his tenth year, he joined the expedition of Admiral Laurent Truguet to the coast of Sardinia. Entering the army in 1797, he rose rapidly and avowed himself and he served in several of the ensuing campaigns, participating in the Battle of Jena and distinguishing himself at the Battle of Aspern-Essling, where he was wounded. At the end of campaign on the Danube, he received the title of count and remained in close attendance on Napoleon. He was chosen for a mission to discuss matters with the Austrian commander Archduke Ferdinand Karl Joseph of Austria-Este at Würzburg among others. At the time of the first abdication of Napoleon at Fontainebleau, Montholon and his wife accompanied the ex-Emperor to Saint Helena. Napoleon chiefly dictated to Montholon the notes on his career which form a far from trustworthy commentary on the events of the first part of his life, Montholon is known to have despised and flouted Las Cases, though in later writings he affected to laud his services to Napoleon. With Gourgaud, who was no less vain and sensitive than he himself, there was a feud which would have led to a duel. Las Cases left the island in November 1816, and Gourgaud in January 1818, Montholon had to spend many years in what is now Belgium, and in 1840 acted as chief of staff in the absurd expedition conducted by Louis Napoleon from London to Boulogne. In 1849, he one of the deputies for the Legislative Assembly under the Second French Republic. Those who believe that Napoleon was murdered by poisoning now regard Montholon as the most likely suspect and this accusation has been forcefully argued by Ben Weider and Sten Forshufvud, and accepted by Napoleons recent biographer, Alan Schom. Montholons military service would ultimately enable him to join Napoleon in the Emperors final exile, however, closer scrutiny of his military service reveals several falsehoods. Montholon claimed he had won a sword of honour during 1800s Hohenlinden campaign, but in fact, he had no part in the campaign, as he was facing expulsion from the army for corruption at the time. He was reintegrated into the army thanks to friends and family, including his brother-in-law. In 1809, Montholon claimed to be wounded at the Battle of Jena, of Montholons own writings, the only one of note is De lArmée française. Montholon married Albine Vassal on July 2,1812, two months after she divorced her husband, Daniel Roger. Their son, Charles-François-Frédéric, was born in 1814, Montholon probably fathered her two other sons while she was married to Roger, as she gave each the names Charles, Tristan, and de Montholon-Sémonville
Charles Tristan, marquis de Montholon
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Charles Tristan, marquis de Montholon
32.
Elena et les hommes
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Elena and Her Men is a 1956 film directed by Jean Renoir and starring Ingrid Bergman and Jean Marais. The films original French title was Élèna et les Hommes, and in English-speaking countries and it is the third addition to the trilogy, preceded by The Golden Coach and French Cancan. A restored copy has been released in the 21st century, Elenas family has run out of money, and in order to save them, she agrees to marry a wealthy, older family friend. No sooner has she agreed to this engagement, then she meets a stranger during a 14 July celebration. Sparks fly with the Count, but when he introduces Elena to General Rollan, by the end of the day, Elena finds her hands full with her engagement and the romantic interests of two new men. As the movie progresses, a battle of juggling responsibilities develops in each character. Elena feels it is her duty to honor her engagement, and to help the General save France. The Count is loyal to his general and country, but is unwilling to concede Elena to the General, the General is in love with Elena but already has a mistress and is preoccupied with his growing political role in France. When the General is deliberately posted to a town by the French government to prevent a coup détat, Elena follows. The Count pursues her, trying to win Elenas heart and this was Bergmans first film after leaving her husband, director Roberto Rossellini. The character of General Rollan was based on the historic General Boulanger, in 1886, Boulanger had much popular support personally despite the French defeat in the Franco-Prussian War, and some supporters urged him to conduct a coup détat. Ingrid Bergmans performance was highly praised, roger Ebert wrote that she played a Polish princess who could affect the future of France, but he said, thats just what the plot is about. The movie is something else - about Bergmans rare eroticism. Was there ever a more sensuous actress in the movies, francois Truffaut, reviewing this film, observed that sex is the only focus of attention. He says that Renoir preserves a strong erotic and romantic thread all the way through the movies farcical elements, Christopher Faulkner described the film as a farce dealing with many issues and incidents similar to Renoirs well-known Rules of the Game. But he wrote that it is cynical, despite its lightness. He says that the point is made that a woman can only find power within representation, on a stage, at the end of the film, as coup d’état dissolves into coup de théâtre, the suggestion is that all effective power is actually a function of performance. Elena and Her Men at the Internet Movie Database Elena and Her Men at AllMovie Elena and Her Men at the TCM Movie Database Christopher Faulkner, Elena and Her Men, Criterion Collection,2004
Elena et les hommes
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Theatrical release poster
33.
Francis I of France
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Francis I was the first King of France from the Angoulême branch of the House of Valois, reigning from 1515 until his death. He was the son of Charles, Count of Angoulême, and he succeeded his cousin and father-in-law Louis XII, who died without a male heir. Francis reign saw important cultural changes with the rise of absolute monarchy in France, the spread of humanism and Protestantism, Jacques Cartier and others claimed lands in the Americas for France and paved the way for the expansion of the first French colonial empire. For his role in the development and promotion of a standardized French language, he became known as le Père et Restaurateur des Lettres. He was also known as François au Grand Nez, the Grand Colas, following the policy of his predecessors, Francis continued the Italian Wars. In his struggle against Imperial hegemony, he sought the support of Henry VIII of England at the Field of the Cloth of Gold. When this was unsuccessful, he formed a Franco-Ottoman alliance with the Muslim sultan Suleiman the Magnificent, a controversial move for a Christian king at the time. Francis was born on 12 September 1494 at the Château de Cognac in the town of Cognac, which at that time lay in the province of Saintonge, today the town lies in the department of Charente. Francis was the son of Charles, Count of Angoulême, and Louise of Savoy. His family was not expected to inherit the throne, as his third cousin King Charles VIII was still young at the time of his birth, as was his fathers cousin the Duke of Orléans, later King Louis XII. However, Charles VIII died childless in 1498 and was succeeded by Louis XII, the Salic Law prevailed in France, thus females were ineligible to inherit the throne. Therefore, the four-year-old Francis became the heir presumptive to the throne of France in 1498 and was vested with the title of Duke of Valois. In 1505, Louis XII, having fallen ill, ordered that his daughter Claude and Francis be married immediately, Claude was heiress to the Duchy of Brittany through her mother, Anne of Brittany. Following Annes death, the took place on 18 May 1514. Louis died shortly afterwards and Francis inherited the throne and he was crowned King of France in the Cathedral of Reims on 25 January 1515, with Claude as his queen consort. As Francis was receiving his education, ideas emerging from the Italian Renaissance were influential in France, some of his tutors, such as François Desmoulins de Rochefort and Christophe de Longueil, were attracted by these new ways of thinking and attempted to influence Francis. His academic education had been in arithmetic, geography, grammar, history, reading, spelling, Francis came to learn chivalry, dancing, and music and he loved archery, falconry, horseback riding, hunting, jousting, real tennis and wrestling. He ended up reading philosophy and theology and he was fascinated with art, literature, poetry and his mother, who had a high admiration for Italian Renaissance art, passed this interest on to her son
Francis I of France
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Francis I
Francis I of France
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Francis I painted in 1515
Francis I of France
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Francis I receiving the last breath of
Leonardo da Vinci in 1519, by
Ingres, painted in 1818.
Francis I of France
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Francis's
Château de Chambord displays a distinct
French Renaissance architecture.
34.
Le Notti bianche
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Le Notti Bianche is a 1957 Italian film directed by Italian neorealist Luchino Visconti. The movie takes its title and basic plot from Fyodor Dostoevsky’s 1848 short story White Nights, a lonely young man, Mario, meets a lonely young woman, Natalia. Mario is lonely for social reasons, he is a stranger, Natalia is lonely because she has always lived in isolation, even in the heart of the city. Her loneliness is intensified because she is in love with a man who may not ever return to her, but who continues to occupy her heart to the exclusion of any other possible relationship. In turning the Dostoevsky story into a film, Visconti eliminated the narration and made Natalia less of an innocent, and at times something of a hysteric. For his part, Mario rejects obvious offers of romantic attention from women in the story. Mario thanks the young woman for the moment of happiness she has brought him, however, he is left alone at the end of the film, befriending the same stray dog he met at the beginning. He is back at one, and has put more energy into pursuing the fantasy of an obsession rather than any prospect of real love. Cashier Lanfranco Ceccarelli Angelo Galassi Renato Terra Corrado Pani Dirk Sanders, prostitute Two Lovers, a 2009 movie by James Gray, is loosely based on the 1957 movie. Le notti bianche at the Internet Movie Database Le notti bianche at AllMovie Criterion Collection essay by Geoffrey Nowell-Smith
Le Notti bianche
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Le notti bianche
35.
Luchino Visconti
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Luchino Visconti di Modrone, Count of Lonate Pozzolo, was an Italian theatre, opera and cinema director, as well as a screenwriter. He is best known for his films The Leopard and Death in Venice, Luchino Visconti was born into a prominent noble family in Milan, one of seven children of Giuseppe Visconti di Modrone, Duke of Grazzano Visconti and Count of Lonate Pozzolo, and his wife Carla. He was formally known as Count don Luchino Visconti di Modrone, during World War II, Visconti joined the Italian Communist Party. Visconti made no secret of his homosexuality and his last partner was the Austrian actor Helmut Berger, who played Martin in Viscontis film The Damned. Berger also appeared in Viscontis Ludwig in 1972 and Conversation Piece in 1974, Visconti suffered a stroke in 1972, but continued to smoke heavily. He died in Rome of another stroke at the age of 69, there is a museum dedicated to the directors work in Ischia. He began his career as an assistant director on Jean Renoirs Toni and Partie de campagne, thanks to the intercession of their common friend. Together with Roberto Rossellini, Visconti joined the salotto of Vittorio Mussolini, here he presumably also met Federico Fellini. In 1948, he wrote and directed La terra trema, based on the novel I Malavoglia by Giovanni Verga, Visconti continued working throughout the 1950s, although he veered away from the neorealist path with his 1954 film, Senso, shot in colour. Based on the novella by Camillo Boito, it is set in Austrian-occupied Venice in 1866, in this film, Visconti combines realism and romanticism as a way to break away from neorealism. However, as one biographer notes, Visconti without neorealism is like Lang without expressionism and he describes the film as the most Viscontian of all Viscontis films. Visconti returned to once more with Rocco e i suoi fratelli. In 1961, he was a member of the jury at the 2nd Moscow International Film Festival, throughout the 1960s, Viscontis films became more personal. Il Gattopardo, is based on Lampedusas novel of the name about the decline of the Sicilian aristocracy at the time of the Risorgimento. It starred American actor Burt Lancaster in the role of Prince Don Fabrizio and this film was distributed in America and Britain by Twentieth-Century Fox, which deleted important scenes. Visconti repudiated the Twentieth-Century Fox version and it was not until The Damned that Visconti received a nomination for an Academy Award, for Best Screenplay. The film, one of Viscontis best-known works, concerns a German industrialists family which slowly begins to disintegrate during the Nazi consolidation of power in the 30s and its decadence and lavish beauty are characteristic of Viscontis aesthetic. Viscontis final film was The Innocent, in which he returns to his recurring interest in infidelity, Visconti was also a celebrated theatre and opera director
Luchino Visconti
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Luchino Visconti
Luchino Visconti
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Family arms
Luchino Visconti
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Luchino Visconti in 1972
Luchino Visconti
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Callas as Amina in La sonnambula
36.
Austerlitz (film)
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Pierre Mondy portrays Napoleon in this film about his victory at the Battle of Austerlitz. Leslie Caron plays the role of his mistress Élisabeth Le Michaud dArçon, Jean Ledrut claimed that his score had been plagiarised as the 1962 pop hit Telstar although the case was eventually dismissed. The original French version runs longer than the English dubbed international version, the French version contains extra scenes including ones with Napoleon visiting his mistress and of Jean Louis Trintignant imagining the coronation for the palace staff. A French DVD was released including interviews with star Pierre Mondy, Austerlitz at the Internet Movie Database
Austerlitz (film)
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Austerlitz
37.
Lazare Carnot
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Lazare Nicolas Marguerite, Count Carnot was a French politician, engineer, freemason and mathematician. He was known as the Organizer of Victory in the French Revolutionary Wars, born on May 13,1753 in the village of Nolay, Côte-dOr, Carnot was the son of local judge and royal notary, Claude Carnot and his wife, Marguerite Pothier. He was the second oldest of eighteen children, at the age of fourteen, Lazare and his brother were enrolled at the Collège d’Autun, in Burgundy where he focused on the study of philosophy and the classics. He held a belief in stoic philosophy and was deeply influenced by Roman civilization. When he turned fifteen, he left the Collège d’Autun to strengthen his philosophical knowledge, during his short time with them, he studied logic, mathematics and theology under the Abbe Bison. Here, he was enrolled in M. de Longpres pension school in 1770 until he was ready to enter one of two engineering and artillery schools in Paris. A year later, in February of 1771, he was ranked the third highest among twelve who were out of his class of more than one hundred who took the entrance exams. It was at point when he entered the Mézières School of Engineering appointed as second lieutenant. Studies at the Mézières included geometry, mechanics, geometrical designing, geography, hydraulics, on January 1,1773, he graduated the school ranked as first lieutenant. It was here where he met and studied with Benjamin Franklin and at the age of twenty, at this moment, he made a name for himself both in the line of theoretical engineering and in his work in the field of fortifications. While in the army, he continued his study of mathematics and this publication earned him the honor of admittance to a literary society. In that same year, he received a promotion to the rank of captain. At the outbreak of the French Revolution in 1789, Carnot entered political life and he became a delegate to the Legislature in 1791. While a member of the Legislative Assembly, Carnot was elected to the Committee for Public Instruction, after the Legislative Assembly was dissolved, Carnot was elected to the National Convention in 1792. He spent the last few months of 1792 on a mission to Bayonne, upon returning to Paris, Carnot voted for the death of King Louis XVI, although he had been absent for the debates surrounding the king’s trial. On 14 August 1793 Carnot was elected to the Committee of Public Safety, with the establishment of the Directory in 1795, Carnot became one of the five initial directors. For the first year, the Directors did well working harmoniously together as well as with the Councils, Carnot and Barthélemy supported concessions to end the war, and hoped to oust the triumvirate and replace them with more conservative men. Carnot took refuge in Geneva, and there in 1797 issued his La métaphysique du calcul infinitésimal, the creation of the French Revolutionary Army was largely due to his powers of organization and enforcing discipline
Lazare Carnot
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Lazare Carnot
Lazare Carnot
Lazare Carnot
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Lazare Carnot, a feverishly productive member of the
Committee of Public Safety during the
Reign of Terror. His part in raising the
levée en masse probably saved the French Revolutionary armies from defeat at the hands of their numerically superior opponents.
Lazare Carnot
–
Réflexions sur la métaphysique du calcul infinitésimal, 1797
38.
Abel Gance
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Abel Gance was a French film director and producer, writer and actor. A pioneer in the theory and practice of montage, he is best known for three major silent films, Jaccuse, La Roue, and the monumental Napoléon. Born in Paris in 1889, Abel Gance was the son of a prosperous doctor, Abel Flamant. Initially taking his mothers name, he was brought up until the age of eight by his grandparents in the coal mining town of Commentry in central France. He then returned to Paris to rejoin his mother who had by then married Adolphe Gance and he started working as a clerk in a solicitors office, but after a couple of years he turned to acting in the theatre. When he was 18, he was given a contract at the Théâtre Royal du Parc in Brussels, where he developed friendships with the actor Victor Francen. While in Brussels, Gance wrote his first film scenarios, which he sold to Léonce Perret, back in Paris in 1909, he acted in his first film, Perrets Molière. At that stage he regarded the cinema as infantile and stupid and was drawn into film jobs by his poverty, but he nevertheless continued to write scenarios. During this period he was diagnosed with tuberculosis, often fatal at that time, Gance tried to maintain a connection with the theatre and he finished writing a monumental tragedy entitled Victoire de Samothrace, in which he hoped that Sarah Bernhardt would star. Its five-hour length, and Gances refusal to cut it, proved to be a stumbling block, with the outbreak of World War I, Gance was rejected by the army on medical grounds and in 1915 he started writing and directing for a new film company, Film dArt. He soon caused controversy with La Folie du docteur Tube, a fantasy in which he. The producers were outraged and refused to show the film, Gance nevertheless continued working for Film dArt until 1918, making over a dozen commercially successful films. His experiments included tracking shots, extreme close-ups, low-angle shots and his subjects moved steadily away from simple action films towards psychological melodramas, such as Mater dolorosa starring Emmy Lynn as a neglected wife who has an affair with her husbands brother. The film was a commercial success, and it was followed by La Dixième Symphonie. Here Gances mastery of lighting, composition and editing was accompanied by a range of literary and artistic references which some critics found pretentious and he re-enlisted in the Service Cinématographique in order to be able to film some scenes on a real battlefield at the front. The film made an impact and went on to have international distribution. He employed elaborate editing techniques and innovative use of cutting which made the film highly influential among other contemporary directors. The finished film was originally in 32 reels and ran for nine hours
Abel Gance
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Abel Gance by the
Studio Harcourt
Abel Gance
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Poster by Cândido de Faria for the silent film Le tragique amour de Mona Lisa (1912) written by Gance. Collection
EYE Film Institute Netherlands.
Abel Gance
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Abel Gance Napoleon
39.
Captain Blood (1960 film)
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Captain Blood is a 1960 French-Italian swashbuckler film directed by André Hunebelle and starring Jean Marais, Bourvil, Elsa Martinelli and Lise Delamare. It is based on a novel by Michel Zévaco, lorenzo The Captain Captain Blood at the Internet Movie Database allrovi/synopsis, Le Capitan
Captain Blood (1960 film)
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Captain Blood
40.
Mars (mythology)
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In ancient Roman religion and myth, Mars was the god of war and also an agricultural guardian, a combination characteristic of early Rome. He was second in only to Jupiter and he was the most prominent of the military gods in the religion of the Roman army. Most of his festivals were held in March, the named for him, and in October. Under the influence of Greek culture, Mars was identified with the Greek god Ares, whose myths were reinterpreted in Roman literature and art under the name of Mars. But the character and dignity of Mars differed in fundamental ways from that of his Greek counterpart, Mars was a part of the Archaic Triad along with Jupiter and Quirinus, the latter of whom as a guardian of the Roman people had no Greek equivalent. Mars altar in the Campus Martius, the area of Rome that took its name from him, was supposed to have been dedicated by Numa, the peace-loving semi-legendary second king of Rome. Although Ares was viewed primarily as a destructive and destabilizing force, Mars represented military power as a way to secure peace, in the mythic genealogy and founding myths of Rome, Mars was the father of Romulus and Remus with Rhea Silvia. Like Ares who was the son of Zeus and Hera, Mars is usually considered to be the son of Jupiter, however, in a version of his birth given by Ovid, he was the son of Juno alone. Jupiter had usurped the mothers function when he gave birth to Minerva directly from his forehead, to restore the balance, Flora obtained a magic flower and tested it on a heifer who became fecund at once. She then plucked a flower ritually using her thumb, touched Junos belly, Juno withdrew to Thrace and the shore of Marmara for the birth. Ovid tells this story in the Fasti, his poetic work on the Roman calendar. In the earliest Roman calendar, March was the first month, Ovid is the only source for the story. The consort of Mars was Nerio or Nerine, Valor and she represents the vital force, power and majesty of Mars. Her name was regarded as Sabine in origin and is equivalent to Latin virtus, in the early 3rd century BC, the comic playwright Plautus has a reference to Mars greeting Nerio, his wife. A source from late antiquity says that Mars and Nerine were celebrated together at a festival held on March 23, in the later Roman Empire, Nerine came to be identified with Minerva. Nerio probably originates as a personification of Mars power, as such abstractions in Latin are generally feminine. Her name appears with that of Mars in an archaic prayer invoking a series of abstract qualities, the influence of Greek mythology and its anthropomorphic gods may have caused Roman writers to treat these pairs as marriages. The union of Venus and Mars held greater appeal for poets and philosophers, in Greek myth, the adultery of Ares and Aphrodite had been exposed to ridicule when her husband Hephaestus caught them in the act by means of a magical snare
Mars (mythology)
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A 1st-century Mars found in the
Forum of Nerva (Capitoline Museums, Rome)
Mars (mythology)
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Marcus Aurelius (
head covered) sacrificing at the Temple of Jupiter
Mars (mythology)
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Wall painting (mid-1st century AD) from which the House of Venus and Mars at
Pompeii takes its name
Mars (mythology)
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She-wolf and twins from an altar to Venus and Mars
41.
Pontius Pilate (1962 film)
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Pontius Pilate is an Italian drama film from 1962, directed by Gian Paolo Callegari and Irving Rapper, written by Oreste Biancoli, starring Jean Marais and Jeanne Crain. The film was known under the titles, Ponce Pilate, Poncio Pilatos, Pontius Pilate, John Drew Barrymore played the characters of both Judas Iscariot and Jesus of Nazareth. The scenario was based mainly on the Gospel of John. The following biblical passages are quoted in the film, Matthew 27,11, Mark 15,2, Luke 23,1, John 18,33,18,37, John 18,38,19, 9-11, Matthew 27,24, Deuteronomy 21, 6-7, John 19, 19-21,19,22. This film takes a perspective on events surrounding the Passion of Jesus Christ by focusing on Pontius Pilate, Pilate is a man for whom nothing seems to go as planned. The film was produced in Italy
Pontius Pilate (1962 film)
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1962 US Theatrical Poster
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Pontius Pilate
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Pontius Pilate was the fifth prefect of the Roman province of Judaea from AD 26–36. He served under Emperor Tiberius, and is best known today for the trial, based on these sources, it appears that Pilate was an equestrian of the Pontii family, and succeeded Valerius Gratus as prefect of Judaea in AD26. Once in his post he offended the sensibilities of his subjects, leading to harsh criticism from Philo. AD93, Pilate was deposed and sent to Rome by Lucius Vitellius after harshly suppressing a Samaritan uprising, arriving just after the death of Tiberius which occurred on 16 March in AD37. In all four accounts, Pilate lobbies for Jesus to be spared his eventual fate of execution. He thus seeks to avoid responsibility for the death of Jesus. In the Gospel of Matthew, Pilate washes his hands to show that he is not responsible for the execution of Jesus, the Gospel of Mark, depicting Jesus as innocent of plotting against the Roman Empire, portrays Pilate as reluctant to execute him. In the Gospel of Luke, Pilate not only agrees that Jesus did not conspire against Rome, but Herod Antipas, in the Gospel of John, Pilate states I find no guilt in Him, and he asks the Jews if Jesus should be released from custody. Scholars have long debated how to interpret Pilates portrayal in the sources, the significance of the Pilate Stone, an artifact discovered in 1961 that names Pontius Pilate, is similarly debated by scholars. The only physical, archaeological evidence that confirms the existence of Pilate is the Latin inscription found on a limestone block relating Pilates tribute to Tiberius. The artifact is a fragment of the inscriptions of a building, probably a temple. The dedication states that Pilate was prefect of Judaea, read praefectus Iudaeae, the early governors of Judaea were of prefect rank, the later were of procurator rank, beginning with Cuspius Fadus in 44 AD. The artifact is currently housed in the Israel Museum, Jerusalem, the remaining text reads, …]S TIBERIÉVM …PON]TIVS PILATVS …PRAEF]ECTVS IVDA Pontius Pilates title was traditionally thought to have been procurator, since Tacitus speaks of him as such. The title used by the governors of the region varied over the period of the New Testament. When Samaria, Judea proper and Idumea were first amalgamated into the Roman Judaea Province, from AD6 to the outbreak of the First Jewish Revolt in 66 and they held the Roman title of prefect until Herod Agrippa I was named King of the Jews in 41 by Claudius. After Herod Agrippas death in 44, when Judaea reverted to direct Roman rule, when applied to governors, this term procurator, otherwise used for financial officers, connotes no difference in rank or function from the title known as prefect. Contemporary archaeological finds and documents such as the Pilate Inscription from Caesarea attest to the more accurate official title only for the years 6 through 41. The logical conclusion is that texts that identify Pilate as procurator are more likely following Tacitus or are unaware of the pre-44 practice
Pontius Pilate
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Ecce Homo ("Behold the Man"),
Antonio Ciseri 's depiction of Pilate presenting a scourged Jesus to the people of
Jerusalem.
Pontius Pilate
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Limestone block discovered in 1961 with Pilate's tribute in Latin to
Tiberius. The words [...]TIVS PILATVS[...] can be clearly seen on the second line.
Pontius Pilate
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Bronze prutah minted by Pontius Pilate. Reverse: Greek letters ΤΙΒΕΡΙΟΥ ΚΑΙΣΑΡΟΣ (of
Tiberius Caesar) and date LIS (year 16 = AD 29/30) surrounding
simpulum (libation ladle). Obverse: Greek letters ΙΟΥΛΙΑ ΚΑΙΣΑΡΟΣ (
Julia, Caesar's (the Emperor's) (mother – Livia / Julia Augusta)), three bound heads of barley, the outer two heads drooping.
Pontius Pilate
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Christ before Pilate,
Mihály Munkácsy, 1881
