#Marjanović

[moviemosaics]

Self Reliance

directed by Jake Johnson, 2023

[nov1ca]

𝗡𝗼𝘃𝗶𝗰𝗮 𝗠𝗮𝗿𝗷𝗮𝗻𝗼𝘃𝗶𝗰 - ˢᵏⁱⁿⁿⁱⁿᵍ ²⁰¹⁰

[radiogornjigrad]

Poznati poduzetnik udario književnicu Slađanu Bukovac

Parkiralište gdje se dogodio napad (Snimio Milivoj Mijošek) “Jutros me je najprije verbalno, a potom fizički napao nepoznat muškarac na parkingu”, kaže u utorak u objavi na društvenim mrežama Slađana Bukovac, književnica i suradnica Arheološkog muzeja Istre koja živi u Puli. Slučaj je potvrdila i policija. “Obavještavamo vas da je jučer oko 7.25 sati, na parkiralištu u Flanatičkoj ulici u Puli,…

[movienized-com]

Tunel

Tunel (Serie 2023) #MinjaPeković #JovanBelobrković #DraganBožaMarjanović #TamaraŠustić #MilošĐorđević #LazarRistovski Mehr auf:

Serie / Tunnel Jahr: 2023 (November) Genre: Krimi / Drama / Thriller Hauptrollen: Minja Peković, Jovan Belobrković, Dragan Boža Marjanović, Tamara Šustić , Miloš Đorđević, Lazar Ristovski, Zoran Cvijanović, Radovan Vujović, Teodora Ristovski, Danica Ristovski, Sergej Trifunović … Serienbeschreibung: Die Serie “Tunel” (Der Tunnel) basiert auf wahren Begebenheiten und folgt einer Spezialeinheit…

[juniper-simblr]

Bleakfort Grocers

Bleakfort Grocers is the town's beloved grocery store, offering a warm and welcoming atmosphere where residents can find everything they need for their daily lives.

Conveniently located near the town square, this small yet well-stocked store provides a wide range of high-quality products, ensuring that the community is well-fed and cared for.

The grocery store is owned by Nadiah Bahij, but due to the many businesses she owns, she has hired Damira Marjanović (townie) to manage it.

[dominadespina]

The Early Life Of Despina Hatun

Maria Olivera was born around 1372-1373 possibly late 1372 or early 1373 in the rich capital of Krusevac as the youngest daughter of Great Prince Lazar and Grand Princess Milica.

Alike of many other European societies during the Middle Ages, education in Moravian Serbia, for those who could afford it started at a pretty young age, 5-7 years of age.

Her father; Lazar made sure to open various public schools near monasteries for the less fortunate and opened a private one in the court of Krusevac for his own children and other children of the court; in other words other children of nobility, possibly also containing her ladies in waiting and companions.

The schools were led by priests and monks who offered knowledge in Christian theology and philosophy, writing, and reading in their mother's tongue.

Her early life was mostly filled with education, education and more education. (The children of Prince Lazar were considered the most educated in their time.)

Apart from school, from private foreign tutors and under the strict supervision of her mother; Grand Princess Milica, and aunt; nun Jefimija she learned Latin, Greek, mathematics, singing, literature, and the secrets of diplomacy and etiquette for a Princess.

She also learned how to run a household from her mother, either by observing or by her mother educating her on the topic of becoming the mistress of the house.

When away from her studies, Olivera was likely preoccupied with the various musicians, jesters, actors, weavers, tailors, magicians, and preachers coming for a quick stay at her father's court, who offered her temporary entertainment like songs, plays, clothing, and jewerly.

Like the rest of her family, Olivera was passionate about literature and art.

The palace of Krusevac contained a large library where the royal children were educated. The library contained various native and foreign translated scriptures, the foreign scriptures in question were Greek, Arab and Indian, containing history as well as fiction; which Olivera seemed to be a fan of, as she would later become a patron of art and literature.

In 1381, the family suffered the loss of the youngest prince; who unfortunately died in infancy.

Years later between 1387 and 1388, Olivera's elder unmarried sister; Teodora was married off and left the capital leaving Olivera as the only unmarried Princess.

Some sources claim that growing up Olivera was the favorite of everyone, the people, her parents, her sisters, and her younger brothers, but perhaps this legend was due to her sacrificial marriage.

Though all Lazarevic members participated in the knight tournaments, especially the princes. Olivera as the rest of the female family members most likely stayed on the sidelines to watch.

Her life was mostly filled with duties and education, but she did have time for other activities and hobbies like art, literature, and knight tournaments. She seemed to have a rich and peaceful life up until The beginning of 1389.

( Sources: „Књижевни лик кнеза Лазара у старој српској књижевности." Od roda Nemanjića by Dr Miladin Stefanović. Book: Daily life in medieval Serbia by Marko Popović, Smilja Marjanović-Dušanić, Danica Popović.)

[martina11]

Katarina Marjanović• Kad narastem, (p)ostat ću ja

[e-kultura]

Festival autorskog filma dodeljuje Specijalne nagrade povodom 30. izdanja festivala

Festival autorskog filma ove godine slavi značajan jubilej – svoje 30. izdanje. Tim povodom, Savet festivala dodeliće Specijalne nagrade za doprinos i podršku festivalu.

Ove prestižne nagrade biće uručene tokom trajanja festivala, a laureati su dugogodišnji saradnici, filmski autori iz zemlje i sveta, kao i predstavnici medija, koji svojim radom i dalje ostavljaju neizbrisiv trag u filmskoj industriji.

Uručenje nagrada biće održano 23. i 26. novembra u 19 časova u sali 1 mts Dvorane.

Dobitnici Specijalnih nagrada za doprinos i podršku 30. Festivala autorskog filma su:

Fabienne Hanclot (bivša direktorka Kanskog programa ACID), Stanislas Pierre (direktor Francuskog instituta u Srbiji), Meinolf Zurhorst (filmski kritičar), Laurent Jacob (selektor Kanskog festivala), Dimitra Karya (selektorka programa Cinéfondation Kanskog festivala), Gabriele Brunnenmeyer (skript doktorka), Manfred Schmidt (dugogodišnji direktor MDM fonda), Jovan Marjanović (direktor Sarajevo Film Festivala), Christoph Terhechte (umetnički direktor festivala DOK Leipzig), Michael Weber (direktor The Match Factory), Rémi Burah (televizija Arte), Boris Matić (direktor Zagreb Film Festivala), Čedomir Kolar (filmski producent), Darijan Mihajlović (pozorišni reditelj), Marko Novaković (reditelj), Branislav Glumac (Francuski institut u Srbiji), Vesna Danilović (dugogodišnja programska urednica DKC-a), Ivana Mihić (glumica), Zorica Dimitrijević (novinarka), Sandra Perović (gl. i odg. urednica Zabavnog programa RTS-a i filmska kritičarka), Miroljub Stojanović (filmski kritičar i urednik izdavaštva Filmskog centra Srbije), Milutin Petrović (reditelj i dobitnik Gran Prija Aleksandar Saša Petrović), Dejan Zečević (reditelj i i dobitnik Gran Prija Aleksandar Saša Petrović), Siniša Dragin (reditelj i dobitnik Gran Prija Aleksandar Saša Petrović), Dubravka Lakić (filmska kritičarka i novinarka), Tatjana Nježić (urednica i novinarka), Branko Ignjatović (fotograf), Srđan Jokanović (novinar), Dimitrije Stefanović (novinar), Boban Aranđelović (filmski kritičar) i Stefan Đelineo (direktor UFUS AFA zaštite).

Podsećamo, jubilarni 30. FAF biće održan od 22. do 29. novembra na nekoliko lokacija u Beogradu i širom Srbije.

[balkanskapravila1371]

INTERVJU: Goran Marjanović - Sudbina se odlučuje iza zatvorenih vrata, o...

[tropicalwhite8inrsblog]

Zanna Marjanović

[stillfertile]

looking through tumblr and theres barely any posts about boban marjanović :( hes so funny why does nobody talk about him……

[fox-and-his-friends-records]

(FOX012LP) MIRKO KRSTIČEVIĆ - ALL AND NOTHING AT ALL (FILM AND THEATRE MUSIC 1977 - 1988) LP

This is a collection of music for the various films and theatre plays by Mirko Krstičević, Croatian and Yugoslavian composer and musician active since 1970s. "All and Nothing at All (Film and Theatre Music 1978 - 1988)" ["Sve i ništa (Filmska i scenska glazba 1978. - 1988." in Croatian] focuses on his work for the underground and avant-garde cinema from the era: directors Ivan Martinac, Svemir Pavić, Lordan Zafranović, Aleksandar F. Stasenko and Vanča Kljaković are all part of the Split Cinema Club association; their work explores art, death, sexuality and eroticism. Krstičević compositions for various theatre plays are also included.

★ From the Original Master Tapes ★ LP Vinyl Gatefold LP ★ Extensive Liner Notes ★ Photographs from the Films ★ Direct Metal Mastering (DMM) by Record Industry NL ★ Standard Edition + Limited Edition with 12-page full color booklet with filmographies, essays and additional photographs (in Croatian and English) ★ First 100 hand-numbered copies with booklet are not available in stores. BUY HERE: https://foxandhisfriends.bigcartel.com

Svemir Pavić's portrait of surrealist painter Ljuba Popović, made in the same year as its counterpart by Walerian Borowczyk, features scenes form Beaubourg Gallery in Paris and Udo Kier as a guest. Side B of the record is all about theatre: plays by Sam Shepard, Rainer Werner Fassbinder and Jean Giraudoux were all produced in Sarajevo and Split in the 1980s, with the rare electronic takes by Mirko Krstičević and his subtle minimalist soundings of the themes from the Cold War era. This unique and diverse compositions by founder of the rock band Metak and sound studio Tetrapak from Split, are document of the time that is, especially in the closing Chernobyl theme, relevant again.

Composer, musician and musical arranger Mirko Krstičević was born in 1948 in Šibenik. He graduated in music theory at the Pedagogical Academy in Split and then at the Music Academy in Sarajevo. He studied composition with Josip Magdić, Mladen Pozajić and Miroslav Špiler. He is the co-founder of the Tetrapak music studio in Split, where numerous performers and musicians have recorded (Animatori, D'Boys, Haustor, Oliver Mandić, Gibonni, Srđan Marjanović, Stil, Trotakt Projekt and others).

Together with Ranko Boban and Momčilo Popadić, he founded the Metak group in the spring of 1978 in Prigradica on Korčula. In the group, he is the author of songs and lyrics, and he also plays the bass guitar. "Da mi je biti morski pas" is the group's most successful single, which in 1980 became one of the most played songs on radio and television. Metak performed in Belgrade in front of 70,000 people, and the media declared them the best group along with Macedonian Leb i sol. In compositional work and arrangements for other pop and rock artists, Krstičevic had high commercial success with Tutti Frutti Balkan Band, Biljana Petrović, Seid Memić Vajta, Pepel in kri, Osmi putnik, Oliver Dragojević , Đorđi Peruzović, Henda and others.

Parallel to his pop and rock career, Krstičević composed stage and film music for 45 films, mostly collaborating with the circle of experimental and amateur directors of the Split Cinema Club (Kino klub Split) as well as the rest of the local underground scene. He is the author of stage music for 130 theatre plays, and also records his own compositions in the field of contemporary music. He wrote over 30 works for solo instruments, 4 operas, chamber and symphonic music. He is the winner of numerous awards, lives and works in Split.

File under: Soundtrack, Stage, Electronica

TRACKS FILM SIDE: The Second Dreams (Theme from House on the Sand) The Torture (Theme from Time of Heroes) Motorcycle (Theme from The Exile) The Opening Night (Theme from Ljuba par lui même) In the Beaubourg Gallery (Theme from Ljuba par lui même) All and Nothing at All (Main Theme from All and Nothing at All) All and Nothing at All (Unused Theme from All and Nothing at All) Jere and Marija in the Room (Theme from Marjuča or Death)

TRACKS THEATRE SIDE The Bitter Tears of Petra von Kant I (Theme from The Bitter Tears of Petra von Kant) The Bitter Tears of Petra von Kant II (Theme from The Bitter Tears of Petra von Kant) Cassandra (Theme from The Trojan War Will Not Take Place) Peace (Theme from The Trojan War Will Not Take Place) Fourth Choir: Sun Ray (Theme from Biedermann und die Brandstifter) Second Choir: Marching Step (Theme from Biedermann und die Brandstifter) The Beginning before the Beginning (Theme from Fool for Love / Savage Love) She Runs Away (Theme from Fool for Love / Savage Love) Eddie Enters (Theme from Fool for Love / Savage Love) A Jerk (Theme from Fear and Hope of the German Federal Republic) Song 3 (Theme from Fear and Hope of the German Federal Republic) Chernobyl (Theme from Fear and Hope of the German Federal Republic)

Composed, arranged and all instruments performed by Mirko Krstičević. Clarinet on A4 by Ivica Borčić. Saxophone on B9 by Mate Carić. Guitar on B7 and B8 by Zlatko Brodarić. Additional instruments: Emax E-mu Systems Model 2100, Yamaha DX7, Fender Rhodes Piano, Korg Poly-61, Oberheim OB-Xa, Wurlitzer 200A, Electronic Piano, Linn Drum LM-2. Recorded at Studio Tetrapak, Split, 1978-1988. Recording engineer: Ivica Čović - Pipo

Executive producers, creative direction and audio-digitization: Leri Ahel & Željko Luketić Selected and programmed by Leri Ahel & Željko Luketić Research, liner notes & music editing by Željko Luketić Artwork by Martin Peranović Mastering by Toni Milohanić (at Ambulanta 2 Studio) DMM cut by Record Industry Netherlands Rights Society: HDS/BIEM ©℗ 2024 Fox & His Friends Records

©℗ 2024 Fox & His Friends Records

Links:

★ http://www.facebook.com/foxandhisfriends ★ http://soundcloud.com/foxandhisfriends ★ http://twitter.com/FoxAndHisFriend ★ http://www.instagram.com/fox.and.his.friends ★ http://www.discogs.com/label/1132857-Fox-His-Friends ★ http://foxandhisfriends.bigcartel.com ★

[nov1ca]

𝗡𝗼𝘃𝗶𝗰𝗮 𝗠𝗮𝗿𝗷𝗮𝗻𝗼𝘃𝗶𝗰 - ˢᵏⁱⁿⁿⁱⁿᵍ ²⁰¹⁰

There's like no content for this movie online so I'll have to post some :))

[disturbed-imagination]

Ruška lutanja (Rose of wandering)

AI simulacija (Runway)

I want to create a film that flows like a river, carrying out images like reflections on a water surface. And add voices that are giving context to the film, while sound and music are underlying the emotion of it. 

Crtice za izgled filma

1. crtica

U djetinjstvu sam znala uzbuđeno pogađati koje od udaljenih zvijezda koje gledam možda više ne postoje. Njihova svjetlost do nas putuje svemirom toliko dugo da dok informacije stignu, mi vidimo pradavnu prošlost. Jednako tako, slike događaja koji su se zbivali na Zemlji, prisutne su u titranju svjetlosti koja sada putuje svemirom. Da se mogu teleportirati na planet udaljen otprilike 460 trilijuna kilometara i uperiti gigantski teleskop-kameru prema Zemlji pod točnim kutem, u toj milisekundi dok svjetlost ne projuri dalje u svemir, možda bih mogla uhvatiti događaje koji su se zbivali prije 48 godina. Kako bi izgledala slika koja tako dugo putuje? Kakvo bi bilo njeno svjetlo i boja, njena oštrina i kvaliteta? Što bih vidjela? Što bih uopće mogla snimiti iz tog neobičnog položaja? Bih li se mogla približiti Zemljinoj svjetlosti toliko da raspoznam lice svoje bake ili možda čak glavicu maslačka? A ako uzmem nasumičnu fotku svemira, možda mogu reći da su u tom vrlo širokom planu dokumentirani svi događaji koji su se u vremenskom rasponu putovanja svjetla od izvora do objektiva desili u snimljenom prostoru.

Je li se negdje na ovoj fotografiji svemira zbio i Brijunski plenum iz 1966.?

2. crtica

Još jedna dječja fascinacija bila je spoznaja da se sva materija sastoji od atoma koji se kreću različitim brzinama. Mama mi je objasnila da niti jedna stvar na svijetu nije statična, a ja sam pomislila da to znači da možemo prolaziti kroz njih i da granice između stvari ne postoje i da mogu svojom voljom utjecati na to da se (moji) atomi uspore i prorijede pa ću, ako bude trebalo, lako proći kroz zid (i ne moram paziti hoću li izgubiti ključ od stana okačen na bockavu srebrnu vrpcu koju sam morala nositi oko vrata). Sada se čini nasumičnim takvo razmišljanje, no bila sam razočarana što ne mogu svojom voljom utjecati na kretanje atoma i mijenjati stanje stvari. Iako nemam pojma o fizici, ipak vjerujem i danas da na mikro razini stvari čuvaju informacije o prošlosti, o dodirima koje smo s njima imali. Da jednom kad posjetimo neko mjesto, naši tragovi zauvijek ostaju dio tog mjesta, da jednom kad jesmo, mi zauvijek jesmo.

Lijevo: mama i baka u zajedničkom dvorištu zgrade u Osijeku 1961. fotku ustupio Ivan K., desno: dvorište 23.01. 2024.

Osječka promenada ljeto 1963. i 25. 01. 2024.

/"Volim vas i nedostajete mi."/

3. crtica

Treća crtica je nešto kasnija fascinacija i odnosi se na način tretiranja svjetla u Rembrandtovom slikarskom pristupu: za razliku od svojih suvremenika koji su bjelinu platna koristili kao svjetlost što prosijava s podloge kroz lazurne nanose, aludirajući na transcendentalnost, Rembrandt je svjetlo tretirao gustim namazima ističući svjetlo kao materijal. Svjetlost na njegovim slikama ostavlja dojam titranja, ona razotkriva materijalnost predmeta, portreti više ne evociraju nedodirljive ikone već ljude od krvi i mesa, prizori čak i ako su sakralni ili mitski, groteskno su realistični s naglašenom dimenzijom propadanja. Ovjekovječen proces raspadanja ima sposobnost uznemiriti promatrača i poremetiti njegov komfor.

Gore: Rembrandtov autoportret vs Vermeerova Djevojka s naušnicom Dole: detalji

Čini mi se kako nešto od te nelagode osjećam dok gledam slike hrane u starim kuharicama. Tretmanom svjetla u slici postiže se njena kvaliteta, kako u slikarstvu, tako i u filmu.

Iz kuharice Dike Marjanović-Radice "Dalmatinska kuhinja"

4. crtica - eksperiment

Da bih svjetlost tretirala kao materijal u (digitalnoj) slici, trebam pronaći način u odnosu na sadržaj pojedine scene. Dojam svjetla kao materijala mogao bi se postići ponovnim projeciranjem odabranih snimki na teksturirane površine, kao i korištenjem različitih leća, zrcala i reflektivnih, polureflektivnih, transparentnih, mat površina, čvrstih, polučvrstih, tekućih ili kombiniranih. Jedna od mogućih metoda je i hvatanje procesa pojavljivanja slike na polaroid snimkama. U Osijeku smo živjeli u prizemlju zgrade i često sam prije spavanja promatrala kako farovi automobila u prolazu osvjetljavaju zidove i strop sobe. Sada zamišljam da se u sličnoj kretnji svjetala pojavljuju i nestaju slike.

U mojoj imaginaciji ovaj film teče poput rijeke - rijeke vremena. Voda je medij koji apsorbira i reflektira svjetlo vizualno stimulativno i privlačno s jedne strane i prijeteće, neobuzdano, mahnito s druge. Odbljesci periodično osvjetljavaju ponešto nejasne prizore koji se raspadnu u tami. Voda je element života (doslovno kao prapočetak života ili plodna voda), element smrti (utapanja) i prolaznosti i u tom smislu ima svoju ulogu u oblikovanju izgleda filma. Ne vide se rezovi, sve je sljepljeno u isto tkivo. Nerazdvojne su slike sjećanja, impresija, imaginarnih prizora.

referenca 1

referenca 2

- Reference za mizanscenu, kostim i druge vizualne elemente razmatraju se posebno, kao i reference za zvuk. Sličan pristup slici koristi se i u igranim i dokumentarnim scenama koje su uklopljene u vizualnu razradu. Za različite scene tražit će se specifičan izgled i pristup koji se definira kroz rad.

------

Reference na scene iz filmova (kriza i fragilnost):

Rosetta: - Ti si Rosetta. Ja sam Rosetta. - Našla si posao. Našla sam posao. - Imaš prijatelja. Imam prijatelja. - Imaš normalan život. Imam normalan život.

Sarah: -...when I'm not broke, I usually have a bottle in my room... in which case I sleep very well, indeed. Eddie: - You talk kind of funny. But I like it. Sarah: - I used to be an actress. Eddie: - Yeah? What do you do now? Sarah: - I'm a college girl, two days a week. Eddie: - You don't look like a college girl. Sarah: - I'm the emancipated type, real emancipated.

Kargar-e Mozeh: - Imali smo razne nevolje. Toliko su mi dozlogrdile da sam odlučio da skončam sve. Jednog jutra, prije zore, stavio sam konopac u svoj auto. Odlučio sam. Ubit ću se. Uputio sam se za Mianeh. To je bilo 1960. Došao sam do voćnjaka dudova. Stao sam tamo. Bacio sam konopac na drvo, ali nije se uhvatio. Probao sam jednom, dvaput, bez uspjeha. Popeo sam se na drvo i čvrsto vezao konopac. Onda sam osjetio nešto mekano pod prstima. Plod duda. Ukusan slatki dud. Pojeo sam jedan, bio je sočan. Zatim drugi, pa treći. Odjednom, primjetio sam da sunce izlazi iznad planine. Kakvo sunce! Kakav prizor!

[zanimljivaekonomija]

Dan Pozorišta na Terazijama obeležen kolažnom predstavom „Na pragu jubileja“ i dodelom godišnjih nagrada

Proslava Dana Pozorišta na Terazijama, odnosno 74. rođendana, održana je sinoć. Tom prilikom izvedena je kolažna predstava "Na pragu jubileja" kao specijalni muzičko-scenski program. Na sceni su pevali ili recitovali poeziju mnogi dramski umetnici koji su obeležili istoriju Pozorišta na Terazijama. Najavljen je i početak rada na novoj predstavi – mjuziklu „Balkan ekspres“, prema jugoslovenskim antologijskom filmskom ostvarenju, za narednu godinu. U programu su nastupali Tanja Bošković, Ljiljana Stjepanović, Mirjana Mina Lazarević, Slaven Došlo, Dragan Vujić Vujke, Žarko Stepanov, Ivana Knežević, Jelena Jovičić, Dušan Svilar, Kristina Savić, i mnogi drugi. Domaćin ceremonije bio je Rade Marjanović, v.d. upravnika Pozorišta na Terazijama, a u programu je učestvovao i orkestar pozorišta sa dirigentom Milanom Nedeljkovićem na čelu.

Pre izvođenja ovog specijalnog muzičko-scenskog programa, u foajeu velike scene svečano su dodeljene godišnje nagrade pozorišta. Glumica Olivera Bacić Dragičević osvojila je nagradu "Janoš Tot" za glumačku bravuru za ulogu Karnadele u mjuziklu "Žene na ivici nervnog sloma". Glumica Ivana Knežević je dobitnica Godišnje nagrade Pozorišta na Terazijama za istu predstavu samo za ulogu Lusije. Reditelj tog mjuzikla Nebojša Bradić takođe je ovogodišnji laureat. Glumac komičar Miloš Đorđević je dobitnik Zahvalnice za poseban doprinos u radu za 2023. godinu. Zahvalnicu za poseban doprinos u radu su dobili i pevači solisti - Nevena Đoković, Mirjana Stojanović i Petar Đurđević, orkestarski muzičari Vojin Nenadović i Ivana Pavlović, solisti baleta Jelena Arsić i Milica Pavlović, dirigenti Ivan Ilić i Milan Nedeljković, i drugi. Dodeljen je i veliki broj zahvalnica za 30 i 20 godina rada, kao i kolegama koji su otišli u penziju.

Foto: Boro Tomović