Film graphic
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Empire of the Sun artwork
Vonnegut was a prisoner of war in Dresden when what he called ‘possibly the world’s most beautiful city’ was destroyed by incendiary bombs, and struggled to write his war book for almost 25 years. Kawada was a young photographer working in post-war Hiroshima when he began to take the strange photographs of the scarred, stained ceiling of the A-bomb Dome – the only building to survive the explosion – that he would eventually publish on August 6 1965, 20 years to the day since the atomic bomb was dropped on the city.
In the case of Craonne, which was entirely obliterated by artillery, the village had to be rebuilt on a nearby site, while the ruins of the original settlement were abandoned to nature. As a result, the only way for photographers to identify Craonne was by providing a caption.
This is an original, rolled, one-sheet movie poster from 1987 for Empire of the Sun starring Christian Bale, John Malkovich, Miranda Richardson and Joe Pantoliano. Steven Spielberg directed the film based on the novel by J.G. Ballard. John Alvin is the artist for the poster.
Vonnegut was a prisoner of war in Dresden when what he called ‘possibly the world’s most beautiful city’ was destroyed by incendiary bombs, and struggled to write his war book for almost 25 years. Kawada was a young photographer working in post-war Hiroshima when he began to take the strange photographs of the scarred, stained ceiling of the A-bomb Dome – the only building to survive the explosion – that he would eventually publish on August 6 1965, 20 years to the day since the atomic bomb was dropped on the city.
In the case of Craonne, which was entirely obliterated by artillery, the village had to be rebuilt on a nearby site, while the ruins of the original settlement were abandoned to nature. As a result, the only way for photographers to identify Craonne was by providing a caption.
Theatrical artwork
What we’re left with today, in the works of Hogarth, Zoffany, George Romney, Benjamin Wilson and others, are permanent records of ephemeral performances — in some cases, splendid records of splendid performances. On top of that, they’re testaments to an era when the visual and the dramatic arts were unprecedentedly entwined.
De straten van Londen zijn verrijkt met honderden kleine, grote en immens grote zalen. Het kloppend hart van dit alles is West End. Er gaat niets boven een middag of avond in een Londens theater. Een genot om te ervaren en te zien hoe bekende en onbekende performers met hun passie omgaan. Zelden een valse noot, altijd vol gedrevenheid.
In het theater zien we de werkelijkheid in al haar facetten in gecomprimeerde, beter gezegd geabstraheerde vorm terug. Het individualisme van de mens, een belangrijk gegeven in de hedendaagse maatschappij, vinden we in het theater terug in de wijze waarop meestal één acteur of object tegelijk belicht wordt. De verdere omgeving op het toneel is gehuld in het donker, zodra een acteur geen rol meer speelt, dooft het licht en lijkt hij opgezogen te worden naar de achtergrond. Alle aandacht richt zich op de figuren in de schijnwerpers en het publiek laat zich gewillig meevoeren in het spel van deze zinsbegoocheling.
What we’re left with today, in the works of Hogarth, Zoffany, George Romney, Benjamin Wilson and others, are permanent records of ephemeral performances — in some cases, splendid records of splendid performances. On top of that, they’re testaments to an era when the visual and the dramatic arts were unprecedentedly entwined.
De straten van Londen zijn verrijkt met honderden kleine, grote en immens grote zalen. Het kloppend hart van dit alles is West End. Er gaat niets boven een middag of avond in een Londens theater. Een genot om te ervaren en te zien hoe bekende en onbekende performers met hun passie omgaan. Zelden een valse noot, altijd vol gedrevenheid.
In het theater zien we de werkelijkheid in al haar facetten in gecomprimeerde, beter gezegd geabstraheerde vorm terug. Het individualisme van de mens, een belangrijk gegeven in de hedendaagse maatschappij, vinden we in het theater terug in de wijze waarop meestal één acteur of object tegelijk belicht wordt. De verdere omgeving op het toneel is gehuld in het donker, zodra een acteur geen rol meer speelt, dooft het licht en lijkt hij opgezogen te worden naar de achtergrond. Alle aandacht richt zich op de figuren in de schijnwerpers en het publiek laat zich gewillig meevoeren in het spel van deze zinsbegoocheling.