Rare Color Photographs of the Russian Empire (1904-1915)
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Russian Czar Nicholas II commissioned a photographer, one that pioneered colourized photography, to travel through the Russian Empire. With his specially equipped railway carriage, he captured the way of life and its religious buildings, infrastructure, normal people living in it and its landscapes. His name was Sergey Prokudin-Gorsky. Many of those photographs have been preserved, and honestly, they’re of incredible quality.
Rectification: at 3:57 what you're seeing is the moulding of an artistic casting. Kasli Iron Works. From the album: Views in the Ural Mountains, survey of industrial area, Russian Empire, 1910. Not developing photographs.
US Library of Congress Prokudin-Gorsky collection:
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Time Codes:
1:10 Sergey Mikhailovich Prokudin-Gorsky
6:43 Sergey's work after the Russian Revolution
8:07 Other early colour photographers
Sources:
Allshouse, R. H. (Ed.). (1980). Photographs for the Tsar: the pioneering colour photography of Sergei Mikhailovich Prokudin-Gorskii commissioned by Tsar Nicholas II. Sidgwick & Jackson.
Brumfield, W. C. (1990). The Color Photographs of Sergei Mikhailovich Prokudin-Gorskii. Visual Resources, 6(3), 243-255.
Leich, H. (2017). The Prokudin-Gorskii Collection of Early 20th Century Color Photographs of Russia at the Library of Congress: Unexpected Consequences of the Digitization of the Collection, 2000–2017. Slavic & East European Information Resources, 18(3-4), 223-230.
US Library of Congress Prokudin-Gorsky collection:
Photos, paintings and imagery: Public Domain, Wikicommons
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Vacation
The next generation of Griswolds is at is again – and on the road for another ill-fated adventure. Following in his father’s footsteps and hoping for some much-needed family bonding, a grown-up Rusty Griswold (Ed Helms) surprises his wife, Debbie (Christina Applegate), and their two sons with a cross-country trip back to America’s “favorite family fun park,” Walley World.
Marat/Sade (1967) + subtitles
subtitles: English, Portuguese (Brazilian), French, Spanish, Turkish, Greek, Italian
Turn ON subtitles with button CC on the bottom of the video.
Complete title:
The Persecution and Assassination of Jean-Paul Marat ... Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade
Cast:
Ian Richardson as Jean-Paul Marat
Patrick Magee as Marquis de Sade
Glenda Jackson as Charlotte Corday
Susan Williamson as Marat's mistress
Clifford Rose as Asylum director
production:
Royal Shakespeare Company
Directed by:
Peter Brook
Based on the play by:
Peter Weiss
The Marquis de Sade is locked in the Charenton mental hospital and decides to put on a play. His overseers agree as long as he follows certain conditions. He writes and directs the other mental patients in a play based on the life of the Jean-Paul Marat. As the play progresses, the inmates become more and more possessed by the violence of the play and become extremely difficult to control. Finally, all chaos breaks loose.
Awards:
Italian National Syndicate of Film Journalists 1969
Won Silver Ribbon Best Director -- Foreign Film Peter Brook
Locarno International Film Festival 1967
Won Special Mention Peter Brook
Whether it's based on reality or not, Marat/Sade is an ambitious idea. The Marquis de Sade (Patrick Magee), often wrote and produced plays during his incarceration. Whether he made one about Jean-Paul Marat is debatable and this is certainly not based on anything Sade wrote. Marat/Sade is actually a filmed version of a play written in the early 1960s (and fully titled The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of The Marquis de Sade) by the Royal Shakespeare Company. Ian Richardson plays the bathtub-bound Marat, and Glenda Jackson plays his assassin. The only problem, of course, is that in the world of the film, Richardson is a lunatic paranoid and Jackson is a narcoleptic depressive. This makes for some strange interpretations of history, mental illness, heroism, and politics — and where we draw the lines among all these things. In the end, Marat/Sade comes off as more of a joke than a think-piece, unfortunately. We laugh at the participants instead of pitying them. We don't think about history and its interpretation: We think instead about what kind of royal person would willingly subject themselves to a presentation of this play. The chaos that erupts is completely expected. Better idea: Have a group of royals present a play inside a mental institution, and see how the inmates respond...
The Great Gildersleeve: Gildy the Athlete / Dinner with Peavey / Gildy Raises Christmas Money
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
The Great Gildersleeve: Leila Leaves Town / Gildy Investigates Retirement / Gildy Needs a Raise
Aiding and abetting the periodically frantic life in the Gildersleeve home was family cook and housekeeper Birdie Lee Coggins (Lillian Randolph). Although in the first season, under writer Levinson, Birdie was often portrayed as saliently less than bright, she slowly developed as the real brains and caretaker of the household under writers John Whedon, Sam Moore and Andy White. In many of the later episodes Gildersleeve has to acknowledge Birdie's commonsense approach to some of his predicaments. By the early 1950s, Birdie was heavily depended on by the rest of the family in fulfilling many of the functions of the household matriarch, whether it be giving sound advice to an adolescent Leroy or tending Marjorie's children.
By the late 1940s, Marjorie slowly matures to a young woman of marrying age. During the 9th season (September 1949-June 1950) Marjorie meets and marries (May 10) Walter Bronco Thompson (Richard Crenna), star football player at the local college. The event was popular enough that Look devoted five pages in its May 23, 1950 issue to the wedding. After living in the same household for a few years with their twin babies Ronnie and Linda, the newlyweds move next door to keep the expanding Gildersleeve clan close together.
Leroy, aged 10--11 during most of the 1940s, is the all-American boy who grudgingly practices his piano lessons, gets bad report cards, fights with his friends and cannot remember to not slam the door. Although he is loyal to his Uncle Mort, he is always the first to deflate his ego with a well-placed Ha!!! or What a character! Beginning in the Spring of 1949, he finds himself in junior high and is at last allowed to grow up, establishing relationships with the girls in the Bullard home across the street. From an awkward adolescent who hangs his head, kicks the ground and giggles whenever Brenda Knickerbocker comes near, he transforms himself overnight (November 28, 1951) into a more mature young man when Babs Winthrop (both girls played by Barbara Whiting) approaches him about studying together. From then on, he branches out with interests in driving, playing the drums and dreaming of a musical career.