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Iz istorije Mostara i Hercegovine *NAPOMENA: Tekst koji slijedi napisala je Jagoda Serdarevi. Porodica Riste Ivani. U poslove trgovine uklju. Najstariji pomen te porodice uo. Potpisnik je molbe upu. Prvi radovi na novoj Sabornoj crkvi zapo. Odmah po Austrougarskoj okupaciji Mostara, avgusta 1. Delegaciju uglednih Mostaraca koja je trebala da otputuje u Be. Potpisnici ovog memoranduma bili su srpski trgovci i zanatlije, njih 1. Z devetdesetimi leti je pri Ignjatijem i arhimandritom Leontijem Radulovi. Jedan je od prvih koji je uredio arhiv i biblioteku Mostarske srpske op. ISBN: B004HB3LR2; TITLE: Najbolje od DZeka Trboseka; AUTHOR: T.H. Raic; ISBN: B004HB3LSG; TITLE: TRG SLOBODE; AUTHOR: Pavao Pavlicic; ISBN: B004HB3LT0; TITLE: VIDETI. Evo nekoliko iz moje skromne zbirke, imam ih jo. Putevim pakla kroz srpske koncentracijske logore u 21.stolje 1 SVETE ANE* donosile su vrelinu iz pustinje, paru. Bujali su samo oleanderi ne Iz istorije Mostara i Hercegovine. 1D: Where we are : our band our story. Gorica Popovic, Actress: Zvezdara. Gorica Popovic was born on August 13, 1952 in Kragujevac, Serbia, Yugoslavia. She is an actress and writer, known for. Bavio se prikupljanjem starina, bio pretpla. Pergamenti su poklonjeni Srpskoj Kraljevskoj Akademiji u Beogradu gdje se i danas nalaze. To je datum prve skup. Prvi od vlasti priznati odbor . Sve je to ”namaknuto i kupljeno nastojanjem i zauzimanjem gospodina Riste kad on bija. U njoj su se nalazila . Predpostavljamo da su do. Nemarom zaposlenih, nedovoljnom stru. Sa omota spisa saznajemo da je prema dopisu sa suda 2. Gotovo svi autori koji su do sada pisali o bibliotekama u Bosni i Hercegovini marginaliziraju veoma bogatu biblioteku Srpsko pravoslavne crkvene op. U njoj se nalaze gotovo kompleti bosanskohercegova. Fond knjiga Ristine biblioteke, vezan je najve. Preko 7. 0% knjiga odnosi se na srpsku istoriju, umjetnost i knji. U ovoj biblioteci je samo jedna knjiga na njema. Inventar biblioteke napisan je na dvanaest stranica velike sveske prili. Simo Matavulj: S mora i planine. Masarik: Govor u austrougarskim delegacijama. M.: O zemlji, mjesecu, suncu i zvijezdama. Odjek Srpsko pravoslavnog sve. Agrarni pokret u Rusiji. V.: Zastupnici jevrejskog dru. K.: Otkrivanje Amerike. Upustvo - kako da gajimo marve. G.: Razvitak - istorija crkve. L.: Zanati i zanatlije. Po debiucie scenicznym na deskach teatru West End, wyst. Po raz pierwszy na du. Giannetti. 19. 98: Getting Personal jako Christopher De. Marco. 19. 98: Spos. 1991-1992: Rodzina Torkelson
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Help students become better writers with specific, actionable feedback throughout the writing process. Engage students in a supportive writing space that extends the reach of instruction and aligns with learning outcomes. Discover Revision Assistant. Reviews & Research / The Phantom of the Cabaret, directed by Henri Pachard (1. Please note: the following review is of an adult film. Nobody worry; it's all squeaky clean and worksafe. I watch the porn so you don't have to. The Phantom of the Cabaret, directed by Henri Pachard, 1. Starring Jamie Gillis, Bionica, & Rick Savage. Grade: D- The grade here is based on the plot of the film, sans all the sex, which is unsurprisingly pretty darn weak. However, there were some really interesting things to be learned from this adult adaptation of Leroux's tale. The story is set in Paris, and we do have several shots of Paris streets to set up the story as we dive on in, following the (somewhat peripheral) adventures of Stogie, a wannabe writer who has come to France to get his creative juices flowing (dammit, everything sounds dirty when you're writing about an adult film). He's looking for Rick, whom he encountered once in a bar and who told him to look his cabaret up if he were ever in Paris. Stogie's intermittent voiceovers are actually quite earnest and believable, in an old- time hardboiled detective story kind of a way. His role throughout the story is basically as the narrator and vehicle for plot exposition, which often sees him playing the part of a reporter and which choice reminds one forcefully of the . Watch The Phantom Of The Cabaret 2 on PornZog Free Porn Clips. All for free and in streaming quality! The Classic Porn: The Phantom of the Cabaret. DVD/Films; Pornstars; Login Get Access. Industry information at your fingertips. Over 200,000 Hollywood insiders. Enhance your IMDb Page. Streaming resources for this Henri Pachard Movie. The Phantom of the Cabaret, directed by Henri Pachard (1989) Please note: the following review is of an adult. Actually shot on location in Paris, this 1989 re-telling of the Phantom of the Opera story is a moody, surprisingly effective success. The story has been updated to.The encounter is a result of the stripper coveting a fur coat that Rick has bought for Eve, the Christine character (another stripper at the club); Rick implies that she will be given the coat as a gift if she engages in sexual behavior with him. It's a flimsy excuse to spark a sex scene between the characters, but the dynamics of the situation are extremely interesting in that they are an update into modern terms of the average opera girl/patron relationship that was common (if somewhat shady) in the nineteenth century. Not that opera performers can be equated with strippers, per se, but the idea of a relationship wherein a performer trades sexual favors and company in exchange for gifts, money, or social status is applicable in both situations. Rick, as the representative of the upper class (or the . In a modern context, strippers can easily be seen as effectively belonging to a lower social . While I doubt very much that Pachard was intentionally making a statement about class divides with this film, it is extremely interesting to see that the class divide of the original novel, and some of Leroux's ideas about the unfairness inherent in it, were so strong that they survived the translation to a modern context relatively intact. Eve, whose name conjures up what are probably intentional connections to the concept of Original Sin, is the Christine character; as a worker at a rather shady establishment, she's hardly an innocent ingenue, but rather a hard- working girl just like the rest of her fellow employees. The only difference is that she's the somewhat steady girlfriend of Rick, and since he's her steady . She's far from a Christ- like, saving figure- -she's mistreated by Rick and sympathetic in her own way, but she's also abrasive and extremely obnoxious in her behavior toward the only person who is of a lower social . Leroux's original character was perforce of the lowest social status; that is, he had no social status at all, having been uniformly rejected by society because of his hideous appearance. Placing him as not only a janitor, but a janitor at a seedy cabaret where even the strippers (themselves . His background is largely unknown to the denizens of the cabaret, though there are rumors that he wears a mask over one side of his face (again, apparently influenced by Webber's stage musical) because he was badly burned in a fire or altercation at some point in the past. The other, powerful ideas that attend the original Erik are totally absent- -he is definitely no powerful ruler, and is not representative of any greater idea like sensuality or the dual roles of genius and madness, but his position as a representative of the lowest echelon of society is so well presented that his character is nevertheless extremely intriguing to watch in order to see how those ideas are handled in this undeniably modern context. Once all the characters have been introduced, there's a short digression to the side for Stogie and Missy, another stripper at the club, to go to a hotel and engage in some sexual play themselves. This interlude is notable only for what it's lacking: specifically, that since Stogie and Missy are both members of the same social . Reflecting this, the background music here is different from the standard boom- chicka- boom music used for the other encounters, being slower and gentler with use of horns instead of only the usual electronic instruments. His obsession with Eve is a gentle and undemanding one, in keeping with the emasculation of his character; he worships her from afar, but never bothers her, aware that she views him as disgusting and beneath her. Interestingly, he plays music on a phonograph in front of her photograph and talks about how the music is the only thing that is a beautiful as she is; as in Leroux's novel, music is equated with transcendence, an escape from the misery of his physical shell (and in this case, the general misery of his entire existence, which has been heightened to place him in an extremity of pity and disenfranchisement). Despite being effectively filth on the social scale of worth, the Phantom retains a curious dignity as a gentleman; various details, such as the fact that he is a former violinist and that his disfigurement was caused by an attacker wielding acid, reminded me forcefully of Erique Claudin, Claude Rains' portrayal of the character from the 1. Eve's relationship with the Phantom is basically nonexistent; there's no mentor/student relationship possible between an exotic dancer and the janitor that cleans up after the shows, but when they do interact Eve displays a combination of revulsion at his presumed ugliness (under the mask; Gillis is no real prize, but he looks perfectly normal except for the mask) and curiosity to know what lies under the mask. This is intriguing because it's such an obvious presentation of the average modern woman's reaction to the idea of the Phantom; the idea of a mysterious masked man encourages any audience to be intrigued by the lure of the forbidden, exciting a desire to know that is part of the enduring popularity of the Phantom story almost a century after it was first written. A new character, Olympia, is introduced halfway through the film. Olympia occupies a unique place in the social hierarchy in that she is the very upper crust of the lower class. Stogie describes her as a . Olympia is constantly seeking to reaffirm her power over Rick, who represents the social class . Olympia's social status as higher than the show girls but lower than the owners and operators of the establishment leads me to conclude that she is probably intended to correlate with Carlotta from the original novel (and, of course, Webber's musical), especially as her use of sexuality as a device to control those above her correlates to Carlotta's use of her professional abilities to control the managers and patrons of the opera house. Olympia's power over Rick is entirely sexual, which is a direct analogue to the girls of the opera, whose only power over the rich patrons of the social elite, far above them in society, lay in their sexuality. A few other clues are scattered about as to source influences; notes and roses being left around, for example, are probably indicative of the heavy influence of Webber's stage musical, which has already lent quite a lot of source material to the formation of this film. The Phantom's mask is crude black leather and reminds me forcefully of the mask worn by Herbert Lom's Phantom in the 1. Intriguingly, this is not too far off from some of the subtle themes at work in Leroux's original novel. I think the ideas survive the translation so well as a result of Pachard's intended audience; in order to appeal to an audience of average joes, Pachard is demonizing an . The way that Rick forces her into it is peculiarly similar to Christine's decision to stay with Erik in Leroux's original novel; he tells her that she must do it as . Of course, Rick is an asshole here, unlike Raoul, but Eve's sacrifice is nevertheless just as valid because she loves him. The Phantom (whose name is Christopher in this version, by the way, another hint that it was largely based upon Webber's musical, in which the Phantom is never named) is pretty gentlemanly about her proposition, and unmasks for her prior to any physical shenanigans, stating that he wants her to know him as he is before she engages in anything; the desire to be loved for himself is concomitant with Erik's heartfelt desire for the same in Leroux's original novel. Then, of course, silliness. Christopher unmasks and we get to see his deformity. Or, at least, we can try. If you squint a lot at this one spot on his cheek, you can see a little beveling of the skin. It's so slight a deformity that it's extremely difficult to even SEE, much less panic over. I was all ready to get into a discussion about hypersensitive definitions of beauty, until Eve freaked out and said that she couldn't stand to look at him and continued to talk about how hideous he was until he put the mask back on, shamed. The characters all continue to behave as if he's unspeakably ugly for the rest of the film. Pachard is, effectively, trying to have his cake and eat it, too; he wants to have the ugliness be a serious factor affecting the characters' relationships (especially in an adult film, having one character be disfigured in some way can add a certain spice of the exotically different), but he knows better than to make it actually seriously ugly for fear of turning off his viewers, so he is forced to compromise by watering down the deformity but not the characters' reactions to it. Muitos consideram que esta op Big Brother 2 was the second season of the American reality television series Big Brother. It began on July 5, 2001 and aired on CBS for 82 days, concluding on September 20, 2001 when Will Kirby was crowned the winner with. Facebook. Entfernen. Wir verwenden Cookies, um Inhalte zu personalisieren, Werbeanzeigen ma. 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A Woman - The Perfect Lady - Charlie. Caught in the Rain - At It Again - Who Got Stung - In the Park. A Woman of Paris - The Public Opinion) (1923) The Gold. To the Last Man (1. Viimeiseen mieheen. Famous Players- Lasky; dist: Paramount – US 1. D: Victor Fleming; P: Jesse L. Lasky; supvr: Lucien Hubbard; SC: Doris Schroeder, based on the novel by Zane Grey (1. Finnish as Viimeiseen mieheen by V. Guy), Edward Brady (Daggs); rel: 2. And since the story was by Zane Grey, the locations had to be those specified in his novel. He even came out and camped with the company to make sure. About 2. 0 deaths can be directly linked to the vendetta.”. This allowed him to cut out the middleman and supervise production himself. He began research on the book that would become To the Last Man – initially entitled Tonto Basin – and made three trips to establish “the truth” about the feud, spending the astonishing sum of $3. The first part of his story was fiction, involving the illegitimate birth of heroine Ellen Jorth. Hampton and Eltinge F. He filed suit against them, charging fraud, declared bankruptcy, and sold what remained of the company to Famous Players- Lasky. Wrote Joe Mc. Neill: “During Last Man filming, gossip columnists began to link Dix and Wilson romantically and for a few months they apparently did have an off- screen relationship.”. He would become one of the most respected of all American cinematographers, awarded ten Oscar nominations in his career, winning twice. A number of important scenes were photographed at Sheep Basin mountain, a deeply isolated spot in the wilderness about 6 miles east of Payson, near the town of Young. Young had been the actual site of the Graham- Tewkesbury feud.”. However, the missing reel was found in the archive a year ago, after which the print was finally able to be put in order. So the screening at this year’s Giornate is a premiere of sorts. But one should keep in mind that, as a rule, foreign films were heavily re- edited in Soviet Russia. They transposed beginnings and endings, interrupted the action in the middle, achieved the opposite sense through the intertitles. In such cases audiences were furious, and even the critics noted the plot as being disfigured to the point of nonsense – or they intellectualized on the crisis of content in bourgeois cinema. Luckily for us, two Fleming titles – To the Last Man and The Call of the Canyon – were re- edited by Sergei Vasiliev. One of the future directors (with his namesake Georgi Vasiliev) of perhaps the most popular Soviet film of the 1. Chapayev (1. 93. 4), he was famous for elegantly reshuffling “unsuitable” films beyond recognition. At the same time, whenever he ran into a masterpiece, he would do his best to keep as much as possible of the original (the existing Soviet print of A Woman of Paris is proof of that). They characterized To the Last Man as “a simple and dramatic story of murderous revenge”. So it is very likely that Sergei Vasiliev left the film as it was – a most difficult task for a re- editor. Some 3. 0 of them were translated into Finnish, and I read most, perhaps all. To the Last Man may have been my favourite, and at least it was different from the others, but 5. I read them. Many of Zane Grey's novels were based on history, sometimes on family tradition, and also To the Last Man is based on fact, though not on family history this time. The sense of place, landscape, and geography is strong, as usual in Grey's novels. To the Last Man stands out from the others in that it is a tragedy. Two families are wiped out, some 2. The carnage can be compared with Shakespeare's tragedies or the story of the Troyan war which we saw dramatized on screen in Pordenone yesterday. Grey invented a Romeo and Juliet story here. Jean Isbel (Richard Dix) would like to stop the war but is drawn into it anyway, and in the final embrace he is about to bleed to death. Ellen Jorth (Lois Wilson) hates her family when the truth is revealed to her. Richard Dix and Lois Wilson co- starred also in Victor Fleming's next Zane Grey film The Call of the Canyon. They also played together in a third Zane Grey film, The Vanishing American, directed by George B. Their chemistry is convincing. Victor Fleming's sense of landscape is powerful. With great difficulty, under Zane Grey's guidance, the film was shot on the locations where the actual tragedy had taken place. In the first meeting of Jean and Ellen by the mountain sheep lodge the characters' attitude to the little lamb reveals something of their nature, following the Griffith lesson (good guy pets dog, bad guy kicks dog). I like this film adaptation of To the Last Man. The details such as Jean waiting for Ellen and contemplating shooting a bear until he notices it has cubs. He leaves a package (much later we learn that there are a pair of shoes initially intended for Jean's sister). Ellen never shows up but she is watching him from the forest. When he is gone she keeps kicking the package in front of her. She cannot make up her mind whether to open it or throw it away. She has denied Jean's accusations flatly, but confronting her family, when she realizes their wrongdoing, she turns against them. There is insight in the psychology of Ellen Jorth, in her hesitations and her contradictions, and in her final resolve. The name of the novel and the film notwithstanding, this is Ellen's story. When a widow enters the battleground to dig a grave to her husband it is a very moving turning- point. At the same time the Isbels realize that . In the final chase the Jorths manage to kill all Isbels except Jean in an explosion in a mountain pass. The stone avalanche is terrifying. A central role for a brave Western woman was a Zane Grey hallmark since his first novel Betty Zane (based on family history). Lois Wilson carries her part with the right spirit. In the finale Ellen is alone against the last villain, Jim, who is about to rape her. Ellen is even ready to sacrifice herself to save Jean who is bleeding to death in the attic when Jim notices the blood on Ellen's hand. From a low contrast Soviet source with a fleetingly ok visual quality. |
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