#jack wynard

[fontainespuppet]

... so i finally did it!

[fpsprotag-poll]

ROUND 2

[eld-red]

hi i lied i am a jack wynard kinnie if anyone could give me a white cable knit sweater another pair of blue jeans some blonde hair dye and chain tattoos on my wrist that would be nice

[johntorrington]

rapture has been closed forever because jack wynard threw up

[sarahartistjane]

All done! Was fun coloring this!

Characters: Gaara(Naruto), Carlos(RE), Yancy(AHWM), Jack(Bioshock), and the Host(Danger In Fiction)

~

🚫Please do Not repost or used my art, thank you!🛇

💛Reblogs are always appreciated thou!💛

[dweemeister]

Fanchon, the Cricket (1915)

Fanchon the Cricket* was a family affair for silent film actress Mary Pickford. When she passed away in 1979, she died thinking that the film – the only one to star herself and her two other siblings, Lottie and Jack – as lost to history. The survivability statistics on silent films is grim reading. In a 2013 study, the Library of Congress estimated that around seventy-five percent of all silent films are lost films. One wonders how overjoyed the folks at the Mary Pickford Foundation, which assists with film preservation efforts and has archived various Pickford-related materials for research purposes, must have felt when they learned in 2012 that the Cinémathèque Française unearthed a print of Fanchon the Cricket. In a six-year, cross-Atlantic collaboration, the Pickford Foundation, Cinémathèque Française, the British Film Institute (BFI; which possessed an incomplete and quickly degrading nitrate print), and L'Immagine Ritrovata (Bologna) restored the print and scanned it in 4K. The restoration is stunning, even if Fanchon the Cricket, as a film, is rough in its craft.

Directed by James Kirkwood (primarily an actor) and co-written by Kirkwood and Frances Marion (1930’s The Big House, 1931’s The Champ) and distributed by Famous Players Film Company (in 1916, this studio would merge with the Lasky Company to become the studio now known as Paramount), Fanchon the Cricket is based on George Sand’s novel La Petite Fadette. Mary Pickford is Fanchon, an uninhibited waif (yet another one of Pickford’s numerous young waif characters) that cares not for the judgments and trappings of society. She lives in the woods with her grandmother (Gertrude Norman), whom the townspeople rumor to be a witch (her appearance, attire, and behavior are only inflaming the rumors). During a May Day picnic, Fanchon saves a young man named Landry Barbeau (Jack Standing), the son of a prosperous local businessman (Russell Bassett), from drowning. In the aftermath, the two find themselves smitten over each other. Landry offers marriage, despite his parents’ preference for the straitlaced Madelon (Lottie Pickford), but Fanchon declines. Realizing the familial strife that might occur in such an arrangement, Fanchon will not marry Landry unless his father approves and asks her to.

Without much soft lighting to brighten up one of the most luminous faces of silent film (there are mostly shots outdoors in this movie), Mary Pickford’s physical acting draws in the viewer in every frame she occupies. Pickford’s movements through the forests and thick grass resemble a being at home in nature – why be concerned over mud and pesky insects? Compared to the weighty, measured movements of her town-dwelling co-stars, she flits and skips without much regard for anyone else she encounters. Her mannerisms, as Fanchon, also reflect a complete lack of socialization. When witnessing the silliness of other people, she never hides how she feels, whether that is amusement or annoyance. Only after Fanchon’s brief courtship with Landry do we see that remarkable nuanced dramatic acting Pickford was capable of. In those moments where Fanchon steps out of her childhood for the first time, we see the inklings of her self-realization of the responsibility and affection for others. Fanchon never stops being the wild girl of the woods but, for precious moments in this film, she becomes a young woman who allows herself to love. The transformation, partial though it may be, is convincing, and that is all thanks to Mary Pickford’s brilliant performance.

Shot on location in Delaware Gap, Pennsylvania in an era before the relocation of all major American movie studios to Hollywood (and when a significant amount of major studio filmmaking was still taking place on the Atlantic coast of the U.S.), the environs surrounding the characters features dense foliage and placid creeks and rivers. Fanchon the Cricket, set in either late 18th or early 19th century America, inhabits a space where the young nation was still mostly undeveloped nature. Cinematographer Edward Wynard (the personal cinematographer of actress Norma Talmadge) photographs the action lushly, and the natural outdoors lighting almost makes the sprawling meadows and rippling waterways a dreamscape. Even if the production design might seem too artificial, the natural surroundings make Fanchon’s deep forest shack and small town-yet-posh backwoods America a believable, specific place in time.

At a period of film history when filmmakers were still experimenting in narrative form and how to interweave themes throughout a film, Fanchon the Cricket has too many subplots that never satisfactorily resolve or are too tangentially related to the central plot. Kirkwood and Marion’s scenario, despite showering attention on some of the supporting characters, never lend enough depth to anyone outside of Fanchon and Landry to make them anything but caricatures. The unnecessary bloat makes the films one-and-a-quarter-hour runtime (this is based on the speed of the Pickford Foundation/ Cinémathèque Française/BFI/ L'Immagine Ritrovata restoration; Fanchon the Cricket is a 5-reeler) seem longer than it should be.

The recent restoration of Fanchon the Cricket comes with a modern soundtrack by Julian Ducatenzeiler and Andy Gladbach that is based in twenty-first century folk rock. This mixture – of early American setting and modern music – is disruptive and jarring. As much as Ducanteziler and Gladbach attempt to mirror the film’s sylvan scenery through their orchestration and modern melodic progressions, the disconnect between the film and their score also extends to the emotional journey that Fanchon takes on-screen. Personally, I prefer a simple piano, organ, or small ensemble score for silent film re-releases (most silent films, when they were first released, were accompanied by these instruments). I am no opponent of using anachronistic musical instruments and melodic and harmonic phrasing for re-released silent films (sci-fi and fantasy silent films might benefit from these most). But composers for such projects should heed what the filmmakers were trying to create – including the setting and the emotional textures of their film. Ducanteziler and Gladbach, in this restoration of Fanchon the Cricket, have not done their due musical diligence.  

Lottie and Jack Pickford led markedly different lives than their sister – who would go on to co-found United Artists (UA) with Charlie Chaplin, Douglas Fairbanks, and D.W. Griffith and a founding member of the Academy of Motion Picture Arts and Sciences (AMPAS). As the least known of the trio, Lottie’s acting career was already on the downswing (by choice) upon Fanchon the Cricket’s theatrical release. Lottie was a socialite, whose passion was to party, experiencing joie de vivre to a maximalist extent. Slightly more established as an actor than Lottie but not as much as Mary, Jack Pickford was a primary figure in a scandal where rich young men drafted by the military would dole out bribes to avoid military service in World War I. Like Lottie, he too was consumed by a socialite’s lifestyle, leading to a life of alcoholism and drug addiction for both.

Moviegoers in the mid-1910s adored Pickford in her most common roles as children and waifs. The year after Fanchon the Cricket, Pickford signed a lucrative deal with Famous Players’ Adolph Zukor that gave her the foremost authority on the films she worked for. In early Hollywood, so strongly associated with movie moguls like Zukor, Mack Sennett (Keystone Studios), Carl Laemmle (Universal), and others, Pickford’s deal was an outlier. The authority she assumed on her productions was a refreshing development for Pickford in an industry filled with stories of interference from the top studio executives. These experiences making films on this new contract helped inspire the formation of United Artists three years later. UA’s creation was a clear statement of Pickford’s desire to foster the talents of herself and others as filmmakers – something that she would continue to champion for decades to come.

The Pickford Foundation/Cinémathèque Française/BFI/L'Immagine Ritrovata restoration is wonderful to behold. The tinting in the restoration was based off the notes found with the BFI nitrate print – making this cross-Atlantic restoration the closest lucky modern viewers might ever get to watching Fanchon the Cricket the way James Kirkwood originally intended. For silent film fans and especially those who want to see the works of one of the most important actresses of all time, this restoration of a complete Fanchon the Cricket is a fortuitous gift.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the ��Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* Promotional materials for the film include and exclude a comma between “Fanchon” and “the”. I use the comma in the title of the review but, to save extra typing, I’ve omitted the comma in the body of the review.

[mojave-misfit]

((So...I really LOVE the first Bioshock. Like, Jack, he's my son now. He is mine and I love him...and uh...Yeah, I tried to make a fallout 4 Jack Ryan/Wynard. Results:

Honestly not terrible all things considering. I still adore him. He's the only protag who made me cry tears of joy, so...yeah.

[runridedive]

UJ silence noisy neighbours in local derby

Varsity Cup: FNB UJ 39-16 FNB Wits

FNB UJ finally registered their first win of the 2018 Varsity Cup in a spirited and entertaining Gauteng Derby as they claimed the bragging rights over FNB Wits.

The much anticipated Johannesburg derby was certainly worth the hype as FNB UJ and FNB Wits locked horns at the UJ Stadium on Monday afternoon in an epic game of rugby. The home side stunned the away side in the opening three minutes as fullback Odwa Nkunjana scored for the Orange Army after some beautiful hands from the backline, Mashudu Raphunga scored the conversion and the score was 7-0.

FNB UJ were playing like a house on fire when winger Shaun William intercepted a misplaced passed and ran almost the whole length of the pitch to give FNB UJ a 14-0 lead with a seven-point try. FNB UJ were playing some dazzling rugby and were unarguably putting on their best performance of the season. Mashudu Raphunga added three points with the boot and FNB UJ were running away with it.

The halftime break saw FNB UJ lead 17-0. The second half was played at a blistering pace as FNB UJ were looking to add more points, while FNB Wits were chasing. It was the former that got the first points of the half, courtesy of the left boot of flyhalf Mashudu Raphunga FNB Wits finally got their first points of the game as centre Adrian Van Blerk scored and the conversion was slotted by replacement flyhalf Ruan Cloete.

The game was perfectly poised for a comeback for FNB Wits at 20-7, and boy was it on. FNB Wits winger Kasende Kapepula scored FNB Wits’ second try and the conversion was converted and FNB Wits were within four points as with the score at 20-16. The entertainment on the pitch was as entertaining as off the pitch, as the FNB UJ crowd played their part in an electric atmosphere.

Odwa Nkunjana got his brace when he scored and almost sealed the game with five minutes to play. Evergreen Mashudu Raphunga made sure with his conversion and it was 30-16 and you could almost feel the whole stadium breathe a sigh of relief. FNB UJ captain Adrian Bester put the game to bed and scored a magnificent seven-point try, of course Raphunga made sure with the conversion and the final score was 39-16 to FNB UJ.

FNB Player That Rocks: Odwa Nkunjana (UJ) Scores FNB UJ: 39 Tries: Odwa Nkunjana (2), Shaun Williams (seven-pointer), Adrian Bester Cons: Mashudu Raphunga (3) Pens: Mashudu Raphunga (3)

FNB Wits: 16 Tries: Adrian Van Blerk. Kasende Kapepula (seven-pointer) Cons: Ruan Cloete (2)

Teams FNB UJ Starting XV: 15 Odwa Nkunjana , 14 Tatendaishe Mujawo, 13 Tyreeq February, 12 Wynard Botha, 11 Shaun Williams, 10 Mashudu Raphunga, 9 Jack Hart, 8 Edwin Jansen , 7 Adrian Bester © , 6 Dian Schoonees, 5 Tyler Brown 4 Malembe Mpofu 3 Kayden Kiewit, 2 Willem Du Plessis, 1 Pierre Rabie

Replacements: 16 Lehlohonolo Mphuthi, 17 Junior Banda , 18 Ethan Jeffery , 19 Jacobus Liebenburg, 20 Siyabonga Masuku, 21 Khanya Ncusane, 22 Johan Esterhuizen, 23 Musawenkosi Shabalala

FNB Wits Starting XV: 15 Jared Fuller, 14 Kasende Kapepula, 13 Yanga Hlalu , 12 Adrian Van Blerk, 11 Moemisi Mosheledi, 10 Christian Humphries, 9 Runaldo Pedro, 8 Cal Smid, 7 Sipho Siboza, 6 Constant Beckerling, 5 Pascal Snyman, 4 Kevin Du Randt, 3 Reynard Cronje, 2 Cecil Conradie, 1 Bhekisa Shongwe Replacements: 16 Justin Brandon, 17 Luyolo Qinela, 18 Ebot Buma, 19 Philip Krause, 20 Mark Snyman, 21 Ruan Cloete, 22 Anele Makongolo 23 Sicelo Champion

image: Christiaan Kotze

The post UJ silence noisy neighbours in local derby appeared first on Run Ride Dive.

from WordPress https://www.runridedive.com/varsity-cup-uj-wits/

[hiddenwashington]

the following characters have been reopened by request of the player, please unfollow :

@graveycrds (jack wynard) **this is a mumu account, do not unfollow! 

the following blogs have been inactive for seven days and their roles have been reopened. please unfollow :

@properdoctory

@lonelysouls ( all characters )

@requiemsfm ( all characters )

@pinkscrpcnt ( nathan prescott ) **this is a mumu account, do not unfollow!

the following blogs have been inactive for six days, and now have 24 hours to make an in character post :

@empathiie ( will graham )

@entreprenevrd

the following players are currently on hiatus and are excused from activity :

marie, jodie, aj, maig, daisy, aj

the following players are returning from hiatus and now have 24 hours to post in character, or risk being reopened :

cherry ( @gingervanity )

[clickeric]

A steak sandwich at Jack Tar in Wynard Quarter #foodies #auckland #newzealand (at Jack Tar)

[antlertasticallydeeranged-blog]

Bee Queen Jacky 

[aspergerasparagus]

Little vent art doodle of Jack.

[barbarascomicaweek]

“Don’t bullshit me. People might forget their dreams, and they’re children, but you’re – you’re you, I know you must remember something.”

“I remember Rapture.” A sign he had needed to invent, a combination of ‘lighthouse’ and ‘city.’“I remember it every day. But I don’t remember Rapture before I went back.”

Not to be left alone- Hannah

He's supposed to be signing "I remember Rapture." with the way the author translated it into "Lighthouse City." 

[kidzbopilluminati-blog]

you know what i haven't drawn

bioshock

[sarahartistjane]

Three bois done, two more to go!

[runridedive]

Historic victory for UWC over last year’s semi-finalists

An inspired FNB UWC saw off 2018 semi-finalists FNB UJ 29-17 for their first-ever FNB Varsity Cup victory on Monday night at the UWC Sports Stadium in Bellville.

A brave fight back from FNB UWC helped them edge FNB UJ 29-17 in the final FNB Varsity Cup home game of the 2019 season.

Despite still being at the bottom of the log, the victory means head coach Chester Williams and his men have achieved what many thought would be an almost impossible task ahead of the 2019 season. This win will be remembered for years to come, with many key role players behind the scenes that will be enjoying the fruits of their hard labour.

FNB UWC restricted their opponents to just two tries, of which one was scored virtually after the full-time siren had gone. This is a true testament of the resilient and clinical defensive effort that the home side put in, for this maiden FNB Varsity Cup victory.

Apart from two brilliant breaks from visiting flank Adrian Bester, and a solo break by FNB UWC flyer Tristan leyds there was not much to cheer about in the opening 20 minutes.

The first points of the match game right at the start of the first strategy break, when Mashudu Raphunga slotted a fairly easy penalty attempt. The few line breaks were about the only highlights in the first quarter of the match.

A lapse in concentration by the visitors was pounced on by the men from Bellville. The 2018 FNB Varsity Shield champions were rewarded with an excellent attacking position, metres from the tryline of FNB UJ. Five phases of relentless pick-up-and-drives from the forwards soon paid dividends. Aidynn Cupido dived over for the opening try of the match. The flyhalf had to stretch and fight off his opposite number as well as inside centre Wynard Botha. Cupido converted his own try, handing FNB UWC a slender 7-3 lead as the final 10 minutes of the first half neared.

Bester eventually did get his try, the first for last year’s semi-finalist. The skillful flanker gathered the ball from close range and with the tryline looming, was not going to stopped. Raphunga converted, 7-10 as the players headed into the halftime break.

In similar fashion to the first half, the match just did not seem to kick into overdrive with both sides not finding their rhythm. It took a brilliant passage of play from the home side to get things going again. Minutes before the second and final strategy break for FNB UWC at home in the 2019 Varsity Cup season, FNB UWC got their second try. Cupido, once again, marshalling matters for the home side. The flyhalf executed a very risky cross kick that could have gone pear shaped, but it was gathered brilliantly by Andre Manuel before linking with Lyle Hendricks who went over in the corner. Cupido stepped up to add the extras, 14-10. Moments later, Cupido added yet another off the tee, this time a 45-metre penalty attempt, 17-10.

FNB UWC extended their lead with two consecutive magnificently executed five-point tries. First Justin Theys crashed over after a build-up of about 10 phases, Cupido missing the conversion. Moments later, the metaphorical final nail in the coffin was dealt by Steers Kinging Moment winner, Labib Kannemeyer. The replacement scrumhalf pounced a loose ball and the nippy number nine got his fingertips on the ball to secure the bonus-point try. FNB UJ added a late consolation seven-point try to take the final score to 29-17.

Steers Kinging Moment: Labib Kannemeyer FNB Player That Rocks: Aidynn Cupido

Scorers For FNB UWC: 29 Tries: Aidynn Cupido, Lyle Hendricks, Justin Theys, Labib Kannemeyer Cons: Aidynn Cupido (3) Pen: Aidynn Cupido

For FNB UJ: 17 Tries: Adrian Bester, Tatendaishe Mujawo Con: Mashudu Raphunga Pen: Mashudu Raphunga

Teams FNB UWC: 15 Tristan Leyds, 14 Sthsaba Mqhatu, 13 Lubelo Scott, 12 Lyle Hendricks, 11 Andre Manuel, 10 Aidynn Cupido, 9 Clayton Daniels, 8 Adrian Paarwater, 7 Reece Bocks, 6 Bronlee Mouwries, 5 Curtley Thomas, 4 Matthew le Roux, 3 Justin Theys, 2 Jacques van Zyl, 1 Luvo Bazi Replacements: 16 Ralph Jansen, 17 Alexander Mbete, 18 Tyler Gessler, 19 Rohaan Adams, 20 Moegamat Labib Kannemeyer, 21 Keagan Fortune, 22 Darren Jaftha, 23 Hendrick Calitz

FNB UJ: 15 Odwa Nkunjana , 14 Shaun Williams, 13 Tyreeq February, 12 Wynard Botha, 11 Tatendaishe Mujawo, 10 Mashudu Raphunga, 9 Jack Hart, 8 Edwin Jansen, 7 Adrian Bester, 6 Dian Schoonees, 5 Tyler Brown, 4 Malembe Mpofu, 3 Coenraad Vrey, 2 Willem Du Plessis, 1 Pierre Rabie Replacements: 16 Hloni Mphuthi, 17 Kayden Kiewit, 18 Sibusiso Lali, 19 Khanya Ncusane, 20 Henro Liebenberg, 21 Siphesihle Radebe, 22 Johan Esterhuizen, 23 Musawenkosi Tshabalala

The post Historic victory for UWC over last year’s semi-finalists appeared first on Run Ride Dive.

from WordPress https://www.runridedive.com/2019-uwc-uj/