#Robert Zuckerman

[yama-bato]

Robert Zuckerman(United States, 1955-2022)

Robert Zuckerman, an archival ink print, numbered  1/50, signed.

"Al Pacino, Miami, Florida".

[asgoodeasgold]

Bob waltzes in into his office (I love the trademark goode clothes faffery) and galvanises his troops with brilliance and energy.

It's mesmerising to watch, I love the charisma Matthew Goode gave Bob 💥

📷 Paramount+ The Offer (2022) ep1 my edit

[thoughtfulseason]

now i’d love the other books with ashley zuckerman as robert langdon yes please

[watchingalotofmovies]

Oppenheimer

Oppenheimer    [trailer]

The story of American scientist, J. Robert Oppenheimer, and his role in the development of the atomic bomb.

Has everything a big, ambitious movie should have. An interesting story, a complex main character, memorable cinematography, a good score, and a large, top-notch cast throughout with Cillian Murphy at its centre.

Nolan's uses his penchant for playing with time lines to good effect, it adds another layer that helps to stay interested. Its three hours are running time is not a problem. It easily could've been even longer.

Elements of the story remind you of some of the things fundamentally wrong with politics today. People in power refusing to take responsibility for what they do. And hurt egos playing petty politics to devastating effect.

Looking back on 2023, I have to say that I'm pleased by the success of Barbenheimer and the crumbling of the Marvel-industrial complex.

[genevieveetguy]

. They won't fear it until they understand it. And they won't understand it until they've used it. Theory will take you only so far.

Oppenheimer, Christopher Nolan (2023)

[historicity-was-already-taken]

Hi, I'm unsure if this is your area of expertise but I was hoping if you know of any primary and secondary sources on antisemitic violence done to Jews returning to their homes in Poland immediately after the Second World War. I found a secondary source on the topic by Jan Gross, though I was hoping if you could point me in the right direction to any other sources.

Hi! While you are correct that it's not my focus, it's certainly an issue which exists in the orbit of my work. Jan Gross' Fear: Anti-Semitism in Poland after Auschwitz is required reading, of course. I also recommend:

Antisemitism and Its Opponents in Modern Poland by Robert Blobaum

Bondage To the Dead: Poland and the Memory of the Holocaust by Michael C. Steinlauf

Cursed: A Social Portrait of the Kielce Pogrom by Joanna Tokarska-Bakir

The Neighbors Respond: The Controversy over the Jedwabne Massacre in Poland edited by Antony Polonsky and Joanna B. Michlic

Polin: Studies in Polish Jewry Vols. 9, 13, and 20

While I can't think of any primary sources off the top of my head (though Yitzhak Zuckerman addresses some of this in his A Surplus of Memory), you will find primary sources by mining the bibliographies of the above secondary sources.

[claudestar2017]

David Bowie, Coney Island, New York, 1990, by Robert Zuckerman.

[fashionbooksmilano]

Flowers & Mushrooms

Essays by M. Harder, M. Moschik, T. Teufel, P. Weiermair, V. Ziegelmaier et al.

Hirmer Verlag, München 2013, 256 pages, 24x28,5cm, ISBN 9783777421605

euro 40,00

email if you want to buy booksinprogressmilano@yahoo.it

Flowers and Mushrooms takes readers inside the rich and diverse symbolism of its eponymous subjects. Flowers have at times stood for freshness and fertility, transience and death. In addition to its ubiquitous and much-maligned image as a hallucinogen, the mushroom has throughout history signified health and life and served as an important symbol within religious ritual. In recent years though, flowers and mushrooms have become a focus in contemporary art, with artists manipulating the many clichés that surround them and adapting their representation to produce new and unexpected layers of meaning, from social criticism to feminism and the conceptual framework of the erotic. Among the leading plant portraitists are the Swiss duo Peter Fischli and David Weiss, whose series of forty photographs epitomize the potential to shed new light on familiar objects by presenting them in unusual context.

The exhibition at MdM Museum der Moderne - Salzburg presents works from Nobuyoshi Araki, Anna Atkins, Eliška Bartek, Christopher Beane, Karl Blossfeldt, Lou Bonin-Tchimoukoff, Balthasar Burkhard, Giovanni Gastel, Georgia Creimer, Imogen Cunningham, Nathalie Djurberg, Hans-Peter Feldmann, Peter Fischli/David Weiss, Sylvie Fleury, Seiichi Furuya, Ernst Haas, Carsten Höller, Judith Huemer, Dieter Huber, Rolf Koppel, August Kotzsch, David LaChapelle, Edwin Hale Lincoln, Chen Lingyang, Vera Lutter, Katharina Malli, Robert Mapplethorpe, Elfriede Mejchar, Moritz Meurer, Paloma Navares, Nam June Paik, Marc Quinn, Albert Renger-Patzsch, Zeger Reyers, Pipilotti Rist, August Sander, Gitte Schäfer, Shirana Shahbazi, Luzia Simons, Thomas Stimm, Robert von Stockert, William Henry Fox Talbot, Diana Thater, Stefan Waibel, Xiao Hui Wang, Andy Warhol, Alois Auer von Welsbach, Michael Wesely, Manfred Willmann, Andrew Zuckerman.

07/03/24

[lnane]

[Image Description:

A screenshot of a swedish wikipedia page titled "Zuckerman's Famous Pig". The page reads:

"Zuckerman's Famous Pig är en sång skriven av Richard M. Sherman och Robert B. Sherman till filmen Fantastiska Wilbur, och inspelad av Soundtrack 1973. Med text på svenska av Bosse Carlsson spelades den in 1976 av Magnus & Brasse, som Svordomsvisan."

Translated to english: Zuckerman's Famous Pig is a song written by Richard M. Sherman and Robert B. Sherman to the movie Charlotte's Web, and recorded by Soundtrack 1973. With lyrics in swedish by Bosse Carlsson it was recorded in 1976 by Magnus & Brasse, as "The Curse Song"

Decription end]

it. is not the same lyrics. like, yea the music is the same but. they did not just translate the lyrics. zuckermans famous pig isnt a song full of curses, its about a great pic. what the fuck

[femalethink]

The “uterus theory” of female inferiority

Biology, like anthropology, is a young science and equally subject to misinterpretations, superficial conclusions, and downright lies in questions that have grave social and political implications. This makes it doubly difficult to uncover the truth about the female sex since so many biologists as well as anthropologists are captives of capitalist ideology. They assume that because woman is born with a uterus she can never liberate herself from direct biological control and must forever remain enslaved to her procreative functions.

This “uterus theory” of female inferiority is no more valid than its corollary, the “penis theory’ of male superiority. For some curious, unexplained reasons, these sexual-procreative organs are supposed to have determined all the other capacities of the sexes. Woman, rendered stupid by the functions of her uterus, was unable to develop her brains, talents, and higher cultural capabilities. Man, on the other hand, with his upstanding sexual muscle instead of the ignominious uterus, could develop his intellect and associated abilities. Both propositions are fiction, not science.

In actuality it is the male that is handicapped in the animal world, not the female. This is due to the disruptive characteristics of male sexuality in nature. As the record shows, males are highly competitive and fight other males for access to females. Although this is often called “jealousy,” it is not jealousy in our sense of the term, namely, the desire to possess a particular female. Rather, it is a crude, pugnacious instinct unmodified by any feelings of individual preference or tenderness, which drives the male animal to seek access to any and all females. In some species the males may fight one another merely for a place in the breeding grounds; in others they may fight even in the absence of females. As Sir Solly Zuckerman says, “The pugnacity of rutting animals is an expression of their physiological condition and not necessarily determined by the presence of females.” (The Social Life of Monkeys and Apes, p. 69.)

Due to this combative characteristic of male sexuality, male animals are separatistic, individualistic, and unable to band together in mutually cooperative groups. At best, under favorable conditions they are able to tolerate one another’s presence in the same feeding or breeding grounds. In some species, as among the large carnivores, they are solitary prowlers. This inability of males in nature to cooperate with one another is a serious handicap so far as the development of group ties is concerned.

The females, on the other hand, thanks to their maternal functions, are not handicapped in this manner. They form into broods composed of the mother and offspring in which cooperation exists and filial ties have a chance to develop. In some species, such as the primates, or even in a pride of lionesses, a number of females and offspring band together in a larger brood.

Moreover, while the male animal has only himself to consider in the struggle for survival, the female through her maternal functions must provide for and protect her offspring as well as herself. Through the constant exercise of these group functions, it is normally the female, not the male, that is more intelligent, sagacious, cunning, and capable. This is recognized by hunters who regard the female, particularly those with cubs, as the more dangerous sex and take appropriate precautions. This keener wit in females developed to its highest degree among the higher mammals where maternal functions and the care of offspring are most protracted, reaching its apex with the primates. Even Robert Ardrey, an ardent partisan of male superiority, admits: “As the kingdom of the animal ascends, so likewise ascends the power of the female ... Masculine woolly-mindedness has been a source of female power for a long way back.” (African Genesis, p. 125.) Robert Briffault more bluntly calls male animals more stupid than females.

These considerations show that there is no basis in nature for the “uterus theory” of female inferiority. If anything, nature favored the female sex since that is the sex upon which the perpetuation of the species pivots. Carrying out their maternal functions gave the females an advantage in the struggle for survival, enabling our branch of the anthropoids to pass from nature’s mode of survival to the human mode of survival through labor activities. In the transition from ape to human it was the female, not the male, that led the way. Already more developed in her capabilities and capacity for cooperation, it was the female who began productive life and thereby founded the new and unique human species.

That is why, out of the maternal brood in the animal world, there arose the maternal clan system or “matriarchy” in the ancient human world. It is only in patriarchal class society, which came a million years after the birth of the human species, that woman was reduced to an animal-like level, forced to preoccupy herself with her maternal functions at the expense of the higher human values developed in the course of social life. In a society founded upon private property, the family institution, and male supremacy, woman’s natural endowment - her uterus and maternal functions - were turned into the chains of exploitation and oppression she endures today. But this is a situation made by man, not by nature.

—Evelyn Reed, "Is Biology Woman’s Destiny?".

[acourtofcharacters]

a court of characters

temporary introduction

penned by Svea, she/her, 20+, CET, 5+ years of writing experience, selective literate roleplay acc, multi muse, multi fandom and multi-ship

hey guys, I’m currently setting this acc up which is why this looks super messy. I haven’t yet created a carrd or google docs muse list so as of for now, I’ll list them here until I figured everything out. If you are interested in roleplaying with any of my characters feel free to reach out to me <3

Fourth Wing

- Violet Sorrengail (fc: Danielle Rose Russel)

A Court of Thorns and Roses verse

- Feyre Archeron (fc: Danielle Rose Russel)

- Rhysand (fc: undecided)

- Tamlin (fc: Trevor Donovan)

- Lucien (fc: undecided)

- Cassian (fc: undecided)

- Nesta Archeron (fc: Jessica Alexander)

- Amarantha (fc: Madelaine Petsch)

- Amren (fc: Ana de Armas)

- Morrigan (fc: Claire Holt)

Twilight

- Isabella Marie Swan (fc: Kristen Stewart)

- Edward Cullen (fc: Robert Pattinson)

- Jane (Volturi) (fc: Dakota Fanning)

Game of Thrones

- Cersei Lannister (fc: Lena Headey)

The Hunger Games & The ballad of songbirds and snakes

- Peeta Mellark (fc: Josh Hutcherson)

- Tigris Snow (fc: Hunter Schafer)

Fear Street

- Nick Goode (fc: Ted Sutherland/ Ashley Zuckerman)

- Christine ‘Ziggy’ Berman (Sadie Sink/ Gillian Jacobs)

Euphoria

- Cassie Howard (fc: Sydney Sweeney)

- Nate Jacobs (fc: Jacob Elordi)

[byneddiedingo]

Rock Hudson and Dorothy Malone in The Tarnished Angels (Douglas Sirk, 1958) Cast: Rock Hudson, Dorothy Malone, Robert Stack, Jack Carson, Christopher Olsen, Robert Middleton, Alan Reed, Alexander Lockwood. Screenplay: George Zuckerman, based on a novel by William Faulkner. Cinematography: Irving Glassberg. Art direction: Alexander Golitzen, Alfred Sweeney. Music: Frank Skinner.  CinemaScope and black-and-white are an odd combination. The former was developed and premiered in 1953 as a way for exhibitors to give audiences something they couldn't find at home on their television sets, which were of course black-and-white. It was meant for color and spectacle, and hastened the making of films in color toward its now default status. But although Douglas Sirk was noted for his use of color, and although The Tarnished Angels has scenes that would have benefited from both color and the CinemaScope extra-wide screen, such as the Mardi Gras sequences and the airplane races, he chose to make the film in black-and-white. And it works: It imposes a kind of film noir chiaroscuro on the story, which could easily have devolved into yet another routine action melodrama. The Tarnished Angels was not well received by contemporary critics: Bosley Crowther in the New York Times called it "badly, cheaply written" and "abominably played." (It might be noted that Crowther wasn't paying too close attention to those abominable players: In his review he misidentifies Jack Carson as Jack Oakie.) Today, however, the film has benefited from the wholesale reevaluation of Sirk's oeuvre, and it feels like the work of a master, if one not always fully in control of his art. Sirk creates a shadowy milieu for the story of barnstorming pilots in the Depression, including the shabby interior of the apartment to which Devlin (Rock Hudson) invites them. And there's a wonderfully creepy use of Mardi Gras masks as motifs. But is there any way to excuse the ridiculously fake and exploitative scene in which Dorothy Malone is forced to dangle from a parachute against a process screen while an unseen wind machine blows up her skirts? None, except to blame it on the insistence of producer Albert Zugsmith, who followed up this film with a series of exploitation flicks starring Mamie Van Doren, like High School Confidential (Jack Arnold, 1958) and Sex Kittens Go to College (Zugsmith, 1960). Otherwise, however, Sirk managed to steer clear of Zugsmith's bad taste. It's true that Rock Hudson is miscast as the alcoholic, chain-smoking Times-Picayune reporter Burke Devlin, a part that demands someone who can look less healthy and strapping than Hudson does. But in fact he gives one of his best performances, emphasizing Devlin's vulnerability. Sirk chose to use long takes in the scene in which Devlin delivers an impromptu eulogy to Roger Shumann (Robert Stack) in the newsroom, beginning drunkenly but gradually sobering as he warms to the topic. Hudson rises to the acting challenge beautifully. Malone doesn't allow the studio's determination to show off her legs to prevent her from also showing the weary, hard-bitten side of Laverne Shumann. Of the leads, I find Stack's performance the least satisfying: There's not enough ambiguity and conflict in Roger's decision to prostitute Laverne to Matt Ord (Robert Middleton) so he can fly Ord's plane; as Stack plays him, Shumann just comes off as an irredeemably obsessive shit. The Tarnished Angels is based on Pylon, a little-read William Faulkner novel, and Faulkner reportedly said it was his favorite among all the films that have been made from his works. That's not saying a lot, I fear: Faulkner has been sadly mishandled by filmmakers. But judging it purely as a study of characters enduring what life throws at them, a favorite Faulknerian theme, the film stands on its own.

[byneddiedingo]

Written on the Wind (Douglas Sirk, 1956)

Cast: Rock Hudson, Lauren Bacall, Robert Stack, Dorothy Malone, Robert Keith, Robert J. Wilke, Grant Williams, Edward Platt. Screenplay: George Zuckerman, based on a novel by Robert Wilder. Cinematography: Russell Metty. Art direction: Robert Clatworthy, Alexander Golitzen. Set decoration: Russell A. Gausman, Julia Heron. Film editing: Russell F. Schoengarth. Costumes: Bill Thomas. Music: Frank Skinner.

Dorothy Malone in

Written on the Wind (1956)

[palmviewfm]

mw counterparts?

we've got quite a few options for you ! here's  some  counterparts  that  we'd  love  to  see  being  used  for  inspo  ! 

monica  geller,�� ross  geller,  chandler  bing,  joey  tribbiani,  susan  bunch,  carol  willick,  janice  litman  goralnik,  mike  hannigan,  jim  halpert,  pam  beesly,  ted  mosby,  jackie  burkhart,  donna  pinciotti,  eric  forman,  laurie  forman,  jade  west,  cat  valentine,  andre  harris,  beck  oliver,  shaggy  rogers,  daphne  blake,  velma  dinkley,  kim  possible,  aria  montgomery,  alison  dilaurentis,  mona  vanderwaal,  emily  fields,  spencer  hastings,  noel  kahn,  caleb  rivers,  toby  cavanaugh,  elena  gilbert,  katherine  pierce,  caroline  forbes,  bonnie  bennett,  tyler  lockwood,  hayley  marshall,  rebekah  mikaelson,  stefan  salvatore,  elijah  mikaelson,  edward  cullen,  rosalie  hale,  esme  cullen,  carlisle  cullen,  alice  cullen,  jacob  black,  jessica  stanley,  beca  mitchell,  chloe  beale,  audrey  posen,  sarah  cameron,  kiara  carerra,  jj  maybank,  john  b  routledge,  pope  heyward,  cleo  anderson,  frances  'baby'  houseman,  brenda  walsh,  kelly  taylor,  donna  martin,  andrea  zuckerman,  valerie  malone,  brandon  walsh,  dylan  mckay,  david  silver,  steve  saunders,  dixon  wilson,  annie  wilson,  naomi  clark,  erin  silver,  brooke  davis,  peyton  sawyer,  haley  james  scott,  lucas  scott,  rachel  gatina,  quinn  james,  clay  evans,  mouth  mcfadden,  skills  taylor,  alex  dupre,  millie huxtable, julian baker, marissa  cooper,  summer  roberts,  anna stern, seth  cohen, zach stevens,  taylor  townsend,  ryan  atwood,  luke  ward,  lexi  grey,  arizona  robbins,  cristina  yang,  atticus  lincoln,  derek  shepherd,  jackson  avery,  cher  horowitz,  regina  george,  gretchen  weiners,  cady  heron,  karen  smith,  janis  ian,  damian  haynes,  heather  chandler,  heather  duke,  heather  mcnamara,  veronica  sawyer,  lorelai  gilmore,  luke  danes,  logna  huntzberger,  jess  mariano,  derek  forester,  lane  kim,  dave  rygalski,  sookie  st  james,  daphne  bridgerton,  simon  basset,  claire  standish,  allison  reynolds,  brian  johnson,  samantha  baker,  austin  ames,  samantha  montgomery,  joey  potter,  jen  lindley,  dawson  leery,  pacey  witter,  peter  parker,  mary  jane  watson,  fiona  gallagher,  lip  gallagher,  faith  lehane,  cordelia  chase,  willow  rosenberg,  prue  halliwell,  paige  matthews,  piper  halliwell,  leo  wyatt,  cole  turner, theo raeken, malia tate, liam dunbar, cora hale, isaac lahey, allison argent, scott mccall, hayden romero, jordan baker, olivia baker, layla keating, spencer james, stiles stilinski, lyla garrity, and tim riggins !

[rubalcavah]

TOMMY CASH x bbno$ - TANGO from NAFTA on Vimeo.

Director Tommy Cash Creative Director Tommy Cash Creative consultant Mari-Ly Kapp 1AD Helen Lõhmus Management: Anton Glushnyov, Marili Jogi Song produced by Danny Zuckerman

PRODUCTION company Nafta Films Producer Ilya Medovy Line Producer Sissel-Maria Mägi Production Manager Sven Olters Production Coordinator Gynel Sihhalijeva Key PA Felikz Volož PA Kailiin Dubrov PA Milla Maria Kujala PA Robin Marten Leppik

Location Manager Eliise Saar Set Assistant Ralf Tõra Set Assistant Patrick Tammsaar Set Assistant Märten Kitsing DOP Heiko Sikka 1AC Frank Saunanen 2AC Ardi Ossaar BCam Aranya Sen

Deep Fake/Face replacement T-VFX VFX Denis Strahhov Colorist Evgeny Bystrov (jojo agency)

Gaffer Andrus Ilp Electrician Reimo Paevere Electrician Karl-Robert Vain GRIP TEAM Car rigging Bertil Tarbe Production Designer Anneli Arusaar Production design assistant Joonas Hirv Production design assistant Mark Nettan Custom props Juhan Malmstein Wardrobe stylist Mari-Ly Kapp

HMU assistant - hair Edvardscissorhand (Edvard Hiietam) Costume assistant Sille Randviir Costume assistant Kerttu Reinmaa Costume assistant Anna-Liina Haamer Tattoo artist M Lorah

Casting director Silvia Lorenzi Casting assistant Ingrid Liivaleht Casting Intern Karoliine Rämmi

Stunt coordinator Konstantin Aleksejev Stunt performer Rodion Sidorov Stunt performer Max Nikolajev Stunt performer Vanya Esepchyk Caterer Nautilus Restoran Traffic control Andri Tsupin Traffic control German Costume bus Reevo Kraam Additional Unit Studio Unit DOP Joosep Jürisson Studio Unit Gaffer Olaf Iowa Studio Unit 1AC/DIT Risto Niils Studio Unit Make-Up Artist Suzanna Eisel Studio Unit PA Sander Koit Big thanks to Racer Worldwide, Ron Verlin, Sveta Vintage, Siim Oja, Must Luik, Nafta Kostüümiladu, Rahvusooper Estonia Kostüümilaenutus, Vibram Fivefingers Eestonia, Ott Krüger, Jaanus Vahtra, Kristiina Tali, Eesti Lihaveisekasvajataje Ühistu ja Rando Treimuth, Angelika Koovit, Karl Kargets, Location Unit, High Voltage

[wahwealth]

Alan Arkin, Joanna Pacuła, Rutger Hauer | Escape From Sobibor (1987) | 

Escape from Sobibor is a 1987 British made-for-television movie.  The film aired on ITV and CBS. The movie is about the mass escape from the Nazi extermination camp at Sobibor,  The Escape From Sobibor was the most successful.  Escapes also took place at Auschwitz-Birkenau and Treblinka. Alan Arkin, Joanna Pacuła, and Rutger Hauer are the stars. Cast Alan Arkin as Leon Feldhendler Joanna Pacuła as Luka (Gertrude Poppert-Schonborn) Rutger Hauer as Lieutenant Aleksandr 'Sasha' Pechersky Hartmut Becker as SS-Hauptscharführer Gustav Wagner Jack Shepherd as Itzhak Lichtman Emil Wolk as Samuel Freiberg Simon Gregor as Stanisław 'Shlomo' Szmajzner Linal Haft as Kapo Porchek Jason Norman as Thomas 'Toivi' Blatt Robert Gwilym as Chaim Engel Eli Nathenson as Moses Szmajzner Kurt Raab as SS-Oberscharführer Karl Frenzel Eric Caspar as SS-Hauptsturmführer Franz Reichleitner Hugo Bower as SS-Oberscharführer Rudolf Beckmann Klaus Grünberg as SS-Oberscharführer Erich Bauer Wolfgang Bathke as SS-Unterscharführer Hurst Henning Gissel as SS-Scharführer Josef Fallaster Henry Stolow as SS-Untersturmführer Johann Niemann Ullrich Haupt as SS-Scharführer Josef Wolf Patti Love as Eda Fiszer Lichtman Judith Sharp as Bajle Sobol Ellis van Maarseveen [nl] as Selma Wijnberg David Miller as Tailor Mundek Jack Chissick as Hershel Zuckerman Ned Vukovic as Morris Sara Sugarman as Naomi Peter Jonfield as Kapo Sturm Dijana Kržanić as Esther Terner Irfan Mensur as Kalimali Zoran Stojiljković as Boris Svetolik Nikačević as Old Man Miša Janketić as Oberkapo Berliner Dejan Čavić as Kapo Spitz Zlatan Fazlagić as Weiss Predrag Milinković as Kapo Jacob Svetislav Goncić as Gardener Never miss a video. Join the channel so that Mr. P can notify you when new videos are uploaded: https://www.youtube.com/@nrpsmovieclassics