Tag : NY Times

macabre-scary-clown-portraits-photography-clownville-eolo-perfido-99-5PHOTO- Atunci cand clovnii isi pierd veselia

PHOTO- Atunci cand clovnii isi pierd veselia

Text de Raluca Antuca

Atât de diferiți suntem noi oamenii, încât același lucru pe unii îi sperie și pe alții îi amuză. Unul dintre lucrurile astea este reprezentat de clovni.

Știu anumite persoane care au fobie, efectiv sunt înfricoșate de acea față al cărei zâmbet larg nu dispare niciodată și ai cărei ochi te privesc țintă. Ce să mai vorbim de machiajul ușor sinistru, care te face să te întrebi care este semnificația unei fețe vopsite cu alb. Dar unii pot fi fascinați de veselia clovnului și de faptul că nu este ca ceilalți oameni.

Termenul de clovn provine de la un cuvânt scandinav, care înseamnă “fraierel vesel”, iar clovnii moderni au apărut la sfârșitul secolului XVIII și au fost asociați cu filmele comice.

Pentru cei curioși, există o serie fotografică Clownville în care niște clovni pozează pentru fotograful francez Eolo Perfido. Doar că acest proiect este un coșmar fotografic, în care grotescul domină, iar veselia modelelor este înfricoșătoare. Fotograful spune că a fost inspirat de filmele mute Buster Keaton și Charlie Chaplin, unde personajele exagerau emoțiile, pentru că nu puteau vorbi.

Perfido trăiește acum în Italia, iar lucrările lui au apărut în reviste precum NY Times, Vogue Russia, GQ Russia, Panorama First și Vision.

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filmdin nou despre filmul romanesc in America

din nou despre filmul romanesc in America

intr-o vreme in care la Bucuresti, industria cinematografica e ultima preocupare pentru autoritati (au treaba sa se balacareasca intre ei pentru o alt fel de putere, care poate avea legatura cu filmul decit ca subiect narativ), in aceeasi vreme in care despre Romania in strainatate se scrie greu si de rau, filmul romanesc mai aprinde o data lumina pe drumul mindriei noastre mioritice.

astazi intra in cinematografele din New York filmul Pozitia copilului, prilej ca Romania sa fie prezenta in New York Times intr-un context nu pozitiv, ci exceptional, in care Luminita Gheorghiu e numita  “astonishing Romanian actress”, iar filmul este laudat pentru poveste si structura scenariului.

in urma cu doua zile, acelasi NY Times publica un eseu al regizoarei Ilinca Calugareanu care a facut un documentar despre cultura cinematografica a romanilor in epoca lui Ceausescu (VHS vs Comunism) in care protagonista e Irina Margareta Nistor. o bijuterie de text despre simbolul pe care-l reprezenta vocea  doamnei Irina Margareta  Nistor in acea perioada, un simbol al  libertatii la care altfel romanii n-ar fi avut acces. textul integral aici.

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iata doua exemple minunate despre cum industria noastra cinematografica ne mai spala o data in fata lumii intr-una dintre cele mai mari publicatii, acolo unde niciun politician roman nu a primit NICIODATA o lauda.

e un bun pretext sa mai spun o data ca industria cinematografica autohtona ar trebui sa fie una dintre ramurile de investitii strategice ale statului; pentru ca nu cu Ponta (nici cu Antonescu, nici cu Basescu) vom primi laude peste hotare. politicienii romani sunt de foarte multa vreme minjiti cu propriile incapacitati.

daca ar avea intelepciunea si un dram de gindire strategica, ar investi in filmul romanesc. pentru ca ne face mai mult bine decit ne-au facut ei in ultimii 10 ani, toti la un loc;

 

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maria-belloun eseu personal al actritei Maria Bello

un eseu personal al actritei Maria Bello

in NY Times, intr-una dintre rubricile pe care le iubesc cel mai mult – Modern Love ( eseuri personale, impecabil scrise, despre iubirile de toate felurile, despre viata in general -) e  un articol scris de actrita Maria Bello.

o stiti pe Maria Bello, blonda frumoasa, genul the girl next door, cu o vulnerabilitate ascunsa printre gesturile care par in forta.

ati vazut-o in ER, acum e pe ecrane cu Prisoners, in America e vedeta intr-un serial cu un pusti care anticipeaza viitorul prin cifre – Touch.

am vazut ca ea scrie eseul personal si m-am gindit “ce tare. cum au convins-o sa-si povesteasca viata?”

eseul incepe asa:

When my 12-year-old son, Jackson, asked me if there was something I wasn’t telling him, I replied, “There are a lot of things I don’t tell you.”

“Like what?”

“Adult stuff.”

He persisted: “What kind of adult stuff?”

This was the moment I had been anticipating and dreading for months. “Like romantic stuff,” I said, fumbling for words.

“What kind of romantic stuff?”

“Well,” I said. “Like how sometimes you can be friends with someone, and then it turns romantic, and then you’re friends again. Like with Dad and me. Or romantic like Bryn and me were, and then he and I became friends.”

“So are you romantic with anyone right now?” he asked.

si dupa aceea spune ca de fapt are de curind o iubita, nu un iubit.

am citit si m-am auzit spunind “oooo doamne”.

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sa nu ma intelegeti gresit, am prieteni gay, cred despre mine ca nu am nicio prejudecata in ceea ce priveste ce face omul acasa, e treaba fiecaruia si nu e de judecat nimic.

doar ca m-a socat foarte foarte tare vestea asta. habar n-am de ce.

ma intreb cum de au convins-o sa marturiseasca. si de ce a ales sa spuna acum. nu e in promovare pentru niciun film.

puteti citi intregul ei eseu aici.

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OnteachingJournalism1o poveste cu multe intelesuri

o poveste cu multe intelesuri

One summer Sunday I was sitting on the riverbank thinking of a story I was writing. A lifetime of scribbled ideas and abandoned projects had begun to take the form of a collection, and I was in a creative fervor.

Suddenly I felt the hairs on the back of my neck prickle. Turning, I saw him standing above me, glaring. He had been laboring for hours, as was his wont. He had mowed the lawn, weeded the garden and painted the porch and for all I knew plowed the back 40. He was fed up with me, sitting there doing nothing. I was ashamed.

It wasn’t until later, after I had swept the house and washed the dishes and cleaned the fridge and we were on our way back to the city, that I realized the story I had been thinking about had faded away. I tried to summon the characters and reimagine the setting, to stoke the urgency I’d felt on the riverbank, but the curtain had dropped; the stage was dark and empty.

I looked at my husband driving, his face set in stern concentration, and saw how pleased he was with what he had accomplished over the weekend. “Listen,” I said, “when you see me sitting there staring off into the distance doing nothing, I’m busy.”

He smiled and squeezed my thigh. After a moment, he said, “I want to clean out the pachysandra around the barn next week.”

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dintr-o poveste reala si cu multe intelesuri publicata astazi in New York Times

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20110622AlbumEmbed2-custom1o intimplare frumoasa pe blogul NY TIMES

o intimplare frumoasa pe blogul NY TIMES

marti, pe blogul de fotografii al New York Times. un redactor a aratat citeva fotografii dintr-un album de pe vremea celui de-al doilea razboi mondial, rugind cititorii sa identifice fotograful. la mai putin de patru ore distanta, avea raspunsul.

nu mi-e clar daca e vorba de puterea internetului sau a NY TIMES, dar imi place tare intimplarea:)

Tuesday morning, Lens andEinesTages, a Spiegel Online site (loosely translated as Once Upon a Time), simultaneously published posts asking readers to help us find out who had created this chilling, fascinating and unidentified document. (“Mysteries of a Nazi Photo Album” on Lens; “Das Rätsel des Nazi-Fotoalbums,” by Marc Pitzke, on EinesTages.)

Before lunchtime in New York, Harriet Scharnberg had written from Hamburg, Germany, to say:

The photographs, at least a lot of them, were taken by the photographer Franz Krieger (1914-1993). Krieger worked as a photojournalist in Salzburg, Austria. In the summer of 1941, he went to Minsk as a member of the Reichs-Autozug Deutschland. In Minsk, he took pictures of Soviet prisoners of war and he also visited the Jewish ghetto and photographed the poor people there. On his way back to Berlin, he took the pictures of Hitler meeting [Adm. Miklos] Horthy in Marienburg.

Ms. Scharnberg explained in a subsequent e-mail that she is writing her Ph.D. dissertation at Martin Luther University in Halle-Wittenberg on German propaganda photographs depicting Jews. This is her specialty as a historian, she said. She has worked in the photo archives of the Neuengammeconcentration camp memorial and at the Hamburg Institute for Social Research.

In the course of trying to learn more about photos of the Minsk ghetto, Ms. Scharnberg said, she came across the 2008 book, “The Salzburg Press Photographer Franz Krieger (1914-1993): Photojournalism in the Shadow of Nazi Propaganda and War,” by Peter F. Kramml.

“Of course, the pictures came to my mind immediately when I saw them and read the descriptions today at Spiegel Online and The New York Times Lens,” she said. We received her communiqué 3 hours 45 minutes after publishing the post.

http://lens.blogs.nytimes.com/2011/06/22/world-war-ii-mystery-solved-in-a-few-hours/

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meniu1cocktailuri de oscar: tabu vs NY Times:)

cocktailuri de oscar: tabu vs NY Times:)

marile minti gindesc la fel: si noi si NYTimes am rugat barmani celebri sa creeze cocktailuri inspirate de filmele nominalizate la Oscar.

despre ale noastre am scris aici (le puteti degusta miine seara la Tabu Oscar Party), despre ale lor puteti citi aici

iata si doua dintre cocktailurile lor:)

Named for the best actress nominee (for “Black Swan”) and created by Eamon Rockey of Compose.

Beforehand, chill red wine that’s been sweetened slightly with sugar (about a tablespoon per half cup of wine) and steeped with lemon peels. Next, combine one and a half ounces of Brooklyn gin, three-quarters of an ounce of lemon juice, a half-ounce of triple sec, a quarter ounce of gum syrup and an egg white. Shake and strain into a cocktail glass. Using a funnel, pour the red wine into the bottom of the glass so it forms a deep layer of color. Mist the top of the cocktail with absinthe (if you don’t have a spare mister, drizzle a few drops of absinthe) and garnish with a few dashes of Angostura bitters.

The Helena Bonham Carter

Named for the best supporting actress nominee (for “The King’s Speech) and created by Meaghan Dorman of Raines Law Room.

This will go into an absinthe-rinsed cocktail glass, so first swirl some absinthe in a glass, then pour it out. Next, combine three-fourths of an ounce of apricot liqueur, an ounce of Cocchi Aperitivo Americano and one and a half ounces of Plymouth gin. Stir with ice and strain into the glass. Spritz with lemon peel oil (by squeezing a zest of lemon over the drink) and garnish with a twist of lemon peel.

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mario_vargas_llosa_luces_e_sombras_590citeva lucruri frumoase de citit

citeva lucruri frumoase de citit

o poveste foarte frumoasa de iubire spusa pe linia subtire unde viata se atinge cu moartea, in New York Times

tot in NY TIMES un story despre Vargas Llosa la cursurile de la Princeton dupa ce a cistigat Nobelul. mi-a dus aminte de o secventa din textul scris de Ana-Maria Onisei pt Esquire, in care Bogdan Aurescu, proaspat victorios la Haga, se duce la Universitate sa predea cursul de drept international.

un interviu cu Michael Caine in Time cu un raspuns genial (Can you explain Inception in one sentence?/ If I’m in a scene, it’s real; if I’m not, it’s not.)

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if it is not captured it is lost

“People think that every thought they have, every experience — if it is not captured it is lost”
esenta noului stil de viata.

Mi-am adus aminte de asta, in timp ce Ana -care se afla in tren- imi spunea – via Y!M – ca se vede dunarea stralucind. replica mea “fa-i o poza!”

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Citatul e dintr-un art despre efectele social media din NY Times, Party on, but No Tweets

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