AUGARTEN, Wien - Povišena okrugla duboka činija Dimenzije Prečnik: 27 cm Visina: 5,5 cm Težina: 1010 g Jedva primetni tragovi pribora na dnu. Žig na dnu: Stilizovan crtež štita s grba austrijskih vojvoda, sa tri polja, ispod krune Wien 62/5025/B 52 “Wiener Porzellanmanufaktur Augarten“ koristi žig, s povremenim izmenama u pratećem nazivu, i isključivo u plavoj boji, od osnivanja 1924. godine do danas. “Wiener Porzellanmanufaktur Augarten“ smatra se naslednikom fabrike “Kaiserlich privilegierte Porcellain Fabrique” koja je, na osnovu privilegije koju je car dao Claudeu du Pakuieru, službeniku bečkog carskog dvora, osnovana 1718. godine. Bila je to druga, posle fabrike u Meissenu, fabrika porcelana u Evropi, i sledećih 15 godina to su bile jedine evropske fabrike porcelana. U prve dve decenje, uspeh prodaje nikako nije odgovarao očekivanjima osnivača. Kada je monopol istekao 1744. godine fabrika zapala u finansijske teškoće. Spasla ju je kupovinom carica Marija Terezija, i do kraja rada fabrika je ostala imovina careva. Od te godine predmeti fabrike kao zašitni znak koriste crtež štita s grba austrijskih vojvoda, koji se često zbog sličnosti pogrešno naziva “košnica”. Često se označavaju nazivom “Stari Beč”, kako bi se razlikovali od proizvoda nove fabrike u Augartenu. Prolazeći kroz različite stilove, od rokokoa, preko neoklasicizma i bidermajera do istorizma, i pod upravom različitih direktora, fabrika je vrhunskim kvalitetom i umetničkom dekoracijom stekla svetsku slavu. Jaka konkurencija fabrika sa područja Bohemie i industrijalizacija proizvodnje primorala je Franca Jozefa I da zatvori fabriku 1864. godine. Posle toga, glavna fabrika porcelana u Auastro-Ugarskoj monarhiji bila je fabrika u mađarskom mestu Herend, koja se i do tada takmičila sa bečkom fabrikom za poziciju dobavljača carskog dvora. Tek u periodu Republike, 1924. godine nova fabrika, “Wiener Porzellanmanufaktur Augarten” otvorena je u zgradi starog zamka u Augratenu i postala jedna od najpoznatijih u svetu, oživljavajući tradiciju, način proizvodnje i način dekorisanja stare fabrike. Proizvodi se visokokvalitetni porcelan isključivo ručno dekorisan od strane umetnika i slikara. 2003. godine fabrika je bankrotirala, a stečajnu masu otkupio je “VMS Value Management Services GmbH` i osnovao `Neue Porzellanmanufaktur Augarten`. Asortiman (a i cene) mogu se naći na zvaničnom sajtu fabrike: https://www.augarten.com/ Prodaje se bez držača za tanjir. /1/ (102/26-21/70-kp/645)

W.H. GRINDLEY & Co - Dva plitka tanjira (1891-1914) Dekor: Hagoon Tehika: Flow Blue Dimenzije Prečnik: 24,5 cm Visina: 2 cm Težina: 850 g Sitni tragovi pribora na dnu oba tanjira. Na dnu jedng tanjira glazura je delimično trakasto ispucala - vidljivo je na posebnoj slici. Žig na dnu: HAGOON (naziv modela) W.H.GRINDLEY&C ENGLAND (sve u prstenu) TRADE MARK (sa obe strane globusa sa parobrodom na vrhu, unutar prstena) (Inicijali) F B (samo na Flow Blue predmetima) Kompanija „W H Grindley & Co (Ltd)“ koristila je žig od oko 1891. do 1914. godine. Kompaniju „W H Grindley & Co (Ltd)“ osnovali su 1880. godine William Harry Grindley (Viliam Heri Grindli) i Alfred Meakin (Alfred Miken, povezan sa kompanijom “J. & G. Meakin“). Proizvodila je posuđe, velikim delom za tržište Kanade, SAD, Južne Amerike i Australije. Partnerstvo je raskinuto 1884. godine i Grindley je nastavio sam. 1960. fabriku je otkupila kompanija “Alfred Clough Ltd”. 1978. preimenovana je u “Grindley of Stoke (ceramics) Ltd.” Otkupio ju je “Federated Potteries Co. Ltd.” 1982. godine, a 1988. ponovo je prešla u vlasništvo “W. H. Grindley”. 1991. godine fabrika je pala u stečaj, i preuzeta je od strane “Woodlands Pottery”. “FLOW BLUE” (flou blu, “razliveno, zamagljeno plavo”) je vrsta porcelana koja se proizvodila u Staffordshireu (Stafordšajr), u Engleskoj. Prodavana je od oko 1820. godine uglavnom na američkom tržištu. “Flow blue” porcelan bio je sličan tradicionalnom plavo-belom porcelanu, osim što je plava boja namerno zamagljena, što se postizalo dodavanjem šolje kreča ili amonijaka u toku pečenja. Najznačajniji proizvođači takvog porcelana u Engleskoj su bili Wedgwood, Johnson Brothers, Minton, Royal Doulton i Swansea. Zanimljiva osobina “flow blue” porcelana bio je i tzv. “efekat plavog mermera”. Predmeti proizvedeni na ovaj način, gledani izdaleka, izgledali su kao isklesan komad mermera, prošaran plavim žilama. Do I svetskog rata, američki proizvođači su postepeno preuzimali domaće tržište “flow blue” porcelana, što je dovelo do povlačenja proizvođača iz Engleske, gde i inače ovakvi predmeti nisu nikad postali popularni. Interesovanje za njih oslabilo je u obe zemlje između dva svetska rata, ali je u Americi ponovo oživelo posle 1960. godine. (121/7-44/145-kp/1351)

AUGARTEN, Wien - Okrugla povišena duboka činija Dimenzije Prečnik: 27 cm Visina: 5,5 cm Težina: 1010 g Jedva primetni tragovi pribora na dnu. Žig na dnu: Stilizovan crtež štita s grba austrijskih vojvoda, sa tri polja, ispod krune Wien 62/5025/B 52 “Wiener Porzellanmanufaktur Augarten“ koristi žig, s povremenim izmenama u pratećem nazivu, i isključivo u plavoj boji, od osnivanja 1924. godine do danas. “Wiener Porzellanmanufaktur Augarten“ smatra se naslednikom fabrike “Kaiserlich privilegierte Porcellain Fabrique” koja je, na osnovu privilegije koju je car dao Claudeu du Pakuieru, službeniku bečkog carskog dvora, osnovana 1718. godine. Bila je to druga, posle fabrike u Meissenu, fabrika porcelana u Evropi, i sledećih 15 godina to su bile jedine evropske fabrike porcelana. U prve dve decenje, uspeh prodaje nikako nije odgovarao očekivanjima osnivača. Kada je monopol istekao 1744. godine fabrika zapala u finansijske teškoće. Spasla ju je kupovinom carica Marija Terezija, i do kraja rada fabrika je ostala imovina careva. Od te godine predmeti fabrike kao zašitni znak koriste crtež štita s grba austrijskih vojvoda, koji se često zbog sličnosti pogrešno naziva “košnica”. Često se označavaju nazivom “Stari Beč”, kako bi se razlikovali od proizvoda nove fabrike u Augartenu. Prolazeći kroz različite stilove, od rokokoa, preko neoklasicizma i bidermajera do istorizma, i pod upravom različitih direktora, fabrika je vrhunskim kvalitetom i umetničkom dekoracijom stekla svetsku slavu. Jaka konkurencija fabrika sa područja Bohemie i industrijalizacija proizvodnje primorala je Franca Jozefa I da zatvori fabriku 1864. godine. Posle toga, glavna fabrika porcelana u Auastro-Ugarskoj monarhiji bila je fabrika u mađarskom mestu Herend, koja se i do tada takmičila sa bečkom fabrikom za poziciju dobavljača carskog dvora. Tek u periodu Republike, 1924. godine nova fabrika, “Wiener Porzellanmanufaktur Augarten” otvorena je u zgradi starog zamka u Augratenu i postala jedna od najpoznatijih u svetu, oživljavajući tradiciju, način proizvodnje i način dekorisanja stare fabrike. Proizvodi se visokokvalitetni porcelan isključivo ručno dekorisan od strane umetnika i slikara. 2003. godine fabrika je bankrotirala, a stečajnu masu otkupio je “VMS Value Management Services GmbH` i osnovao `Neue Porzellanmanufaktur Augarten`. Asortiman (a i cene) mogu se naći na zvaničnom sajtu fabrike: https://www.augarten.com/ Prodaje se bez držača za tanjir. /2/ (102/27-21/70-kp/646)

CHOISY-LE-ROY - Tri plitka fajans tanjira (1863-1908) Dimenzije Prečnik: 24,5 cm Visina: 2 cm Ukupna težina: 1760 g Tragovi pribora na dnu tanjira. Na jednom tanjiru jedna, na dva tanjira više tamnih mrlja na unutrašnjem rubu. Glazura je na jednom tanjiru mrežasto ispucala, na dnu mestimično i potamnila. Sve je vidljivo na kolaž-slici. Žig na dnu: (Inicijali) H B & Co (za “Hippolyte Boulenger & Komp.”) CHOISY (štampano preko naziva modela:) OXFORD Fabrika fajansa “H. Boulenger & Cie.”koristila je žig od 1863. do zatvaranja 1908. godine. „Faïenceries de Choisy-le-Roi“ (Fabrike fajansa Šoazi-le-Roa), u blizini Pariza (danas je njegovo predgrađe), osnovali su 1804. godine tri brata Paillart (Pajar). Naknadno, fabrikom je upravljao samo jedan od njih, Valentin Paillart (Valontan Pajar).Kada je on napustio posao, upravu je, od 1824. do 1836. godine, preuzeo njegov partner Hippolyte Hautin (Ipolit Otan). Partner u fabrici postao je Louis Boulenger (Luj Bulonže, 1773-1850), a njegov sin Adolphe Boulenger (Adolf Bulonže, 1805-1873) i Hautinova ćerka Alexandrine Hautin (Aleksandrin Otan, 1814-1900) venčali su se i imali četvoro dece. Jedno od njih, Hippolyte Boulenger (Ipolit Bulonže, 1836-1892), preuzeo je fabriku 1863. godine i pod imenom “H. Boulenger & Cie.” preobrazio je u kompaniju sa međunarodnom reputacijom. Do tada, fabrika je zapošljavala oko 300 kvalifikovanih radnika koji su radili na tri peći za pečenje keramike. Velik broj novih dizajna majolike uveden je u proizvodnju u ranim 1860-tim godinama. Hippolyte Boulenger je proširio radionice, uvećao proizvodnju i zaposlio profesionalne ilustratore za dizajniranje štampanog fajansa. Po završetku Francusko-pruskog rata područje Alzasa i Lorene je anektirala Nemačka. Grad Sarreguemines (Sargemin), glavni konkurent Choisy-le-Roi u proizvodnji majolike, pripao je nemačkoj teritoriji. Jedan broj radnika iz Sarregueminesa, koji nisu pristali da prime nemačko državljanstvo, došao je u Choisy-le-Roi donoseći sa sobom važne tehničke veštine i umeća. Zahvaljujući tome, Boulengerova fabrika počela je da proizvodi najbolju majloku u Francuskoj, osvajajući priznanja na izložbi u Parizu 1878. godine, kao i na mnogim međunarodnim izložbama. 1889. godine sedište kompanije premešteno je u Pariz a Hippolytea Boulengera nasledila su njegova dva sina. Majolika iz Choisy-le-Roi bila je veoma precizno glazirana i jedina je mogla da konkuriše tada veoma cenjenoj majolici poznatih britanskih proizvođača. Smatrana je za najprefineniju keramiku proizvedenu u Francuskoj. Fabrika je prestala sa radom 1908. godine. Prodaju se bez držača za tanjire. (117/11-37/119-kp/1143)

dim. 40 x 28 cm autor - nepoznat, kasirana na karton nov. 1988 milosevic supporters b/w photo by unknown artist patriotic propaganda communism serbia photo photography The rally in Belgrade, at Ušće (the large field at confluence of Sava River into Danube) was held on November 19, 1988. According to the state press, it gathered about a million people, and according to others, several hundred thousands. It was conceived as a `mother of all rallies`, and a huge crowd of people come from all parts of Serbia by public and factory buses taken just for this opportunity. Milošević reaffirmed his and Serbia`s confinement to the principles of liberty and Serbian equity within Yugoslavia: We will win the battle for Kosovo regardless of the obstacles placed in front of us in the country and abroad. So, we will win regardless of the uniting of our enemies from abroad and those in the country. And that this nation will win the battle for freedom, is a fact well-known even to the Turkish and German conquerors. ----------------------------------------------------- Srbija nikad neće dati Kosovo - rekao je pre 26 godina na Ušću lider Saveza komunista Srbije Slobodan Milošević, pred, veruje se, milion ljudi i sebe ustoličio za lidera svih Srba u SFRJ. Prošlo je 26. godina od najvećeg političkog mitinga na Ušću, pod nazivom “Bratstvo i jedinstvo”, koji je organizovao Savez komunista Srbije na čelu sa Slobodanom Miloševićem. Prema raznim teorijama i izveštajima, priča se da se na ovom skupu sakupilo čak milion ljudi. Ipak, jedno je sigurno, na njemu je Milošević ustoličen za vođu svih Srba u SFRJ! Na Ušću, 19. novembra 1988. održan je “Miting bratstva i jedinstva”, koji je po mnogima predstavljao miting ustoličenja Miloševića, koji se obratio građanima pozivajući ih na odbranu “srpskih nacionalnih interesa”, potpaljujući “fitilj” koji će u naredom periodu dovesti zemlju u stanje haosa. Lider srpskih komunista nije propustio priliku da svima jasno stavi do znanja da Srbija nikad neće dati Kosovo. Bio je to uvod u njegov politički uspon, ali i početak kraja velike države. – Pobedićemo, bez obzira što se i danas kao i nekad protiv Srbije udružuju njeni neprijatelji, oni van zemlje sa onima u zemlji. Njima poručujemo da uopšte nismo plašljivi i da u svaku bitku ulazimo – rekao je tada Milošević. Mesto koje je postalo simbol Miloševićevog uspona danas je prostor na kojem se, umesto političkih mitinga, održavaju muzički koncerti. Umesto političara, na ovom prostoru ljudi se okupljaju da bi slušali svetske muzičke zvezde. izvor - telegraf

Stanje kao na fotografijma 49cm x 69cm Redje u ponudi!!! Soldier Blue (sh. Plavi vojnik) je američki vestern film snimljen 1970. godine u režiji Ralpha Nelsona, koji se smatra jednim od najpoznatijih, ali i najkontroverznijih revizionističkih ostvarenja žanra. Predstavlja adaptaciju romana Arrow in the Sun T. V. Olsena, koji je, pak, bio inspiriran masakrom na Sand Creeku 1864. godine, jednim od najzloglasnijih događaja Indijanskih ratova. Radnja filma se, pak, događa 1877. godine u Teritoriji Colorado kada dvoje mladih - američki vojnik Honus Gant (čiji lik tumači Peter Strauss) i djevojka Cresta Lee (čiji lik tumači Candice Bergen) - sticajem okolnosti prežive masakr od strane grupe Čejena te se nastoje vratiti u civilizaciju, pri čemu, iako između njih dvoje postoji privlačnost, među njima postoje značajajne svjetonazorske razlike, prije svega u odnosu prema Indijancima; za razliku od Honusa, koji je odlučan osvetiti svoje kolege, buntovna Cresta je bila odrasla među Čejenima i prema njima osjeća duboko razumijevanje. Soldier Blue je nastao pod snažnim uticajem tada aktualnog generacijskog jaza između mladih baby boomera i njihovih roditelja, ali još više vijetnamskog rata prema kojem su mlade antiestablišmentski raspoložene generacije osjećale duboku odbojnost. Film je zbog toga shvaćen kao alegorija na suvremena zbivanja, a što je posebno došlo do izražaja u završnoj sceni u kojoj američke trupe masakriraju indijansko pleme ne štedeći pri tome ni ženu ni djecu. Ta scena, velikim dijelom inspirirana aktualnom masakrom u My Laiju je izazvala izuzetne kontroverze zbog Nelsonovoj inzistiranja na naturalističkom i maksimalno uznemirujućem prikazu nasilja, zbog kojeg su kao statisti bili angažirani invalidi kako bi se što uvjerljivije prikazale scene rezanja glava, ruku, nogu i ženskih dojki. Ta scena u originalnom obliku nikada nije ušla u film, pa je film često bio predmetom rezanja i cenzure, a kasniji su kritičari Nelsona optuživali da je pretjerao, odnosno društvenu i političku angažiranost žrtvovao eksploatacijskim sadržajima. Uloge Candice Bergen ... Kathy Maribel `Cresta` Lee Peter Strauss ... Honus Gant Donald Pleasence ... Isaac Q. Cumber John Anderson ... Pukovnik Iverson Jorge Rivero ... Spotted Wolf Dana Elcar ... Kapetan Battles Bob Carraway ... Poručnik McNair Martin West ... Poručnik Spingarn James Hampton ... Redov Menzies Mort Mills ... Narednik O`Hearn Jorge Russek ... Running Fox Ralph Nelson (naveden kao Alf Elson) ... Agent Long Režija Ralph Nelson Producent Gabriel Katzka Harold Loeb Scenario John Gay Uloge Candice Bergen Peter Strauss Donald Pleasence Muzika Roy Budd Fotografija Robert B. Hauser Distribucija Avco Embassy Pictures Datum(i) premijere 12. august 1970 [1] Trajanje 112 min. Zemlja Sjedinjene Države Jezik engleski Bruto prihod 1,2 mil. $ Originalan filmski plakat Kinema Sarajevo

GILDEA & WALKER - Tri manja dezertna tanjira (1886) Dimenzije Prečnik: 18 cm Visina: 2 cm Ukupna težina: 790 g Sitni tragovi pribora na dnu tanjira. Boja na rubu je mestimično izbledela. Na svim tanjirima glazura je mrežasto ispucala: na jdnom uglavnom na poleđini, na dva celom površinom, a na jednom je još i potamnnila u pukotinama - svi tanjiri su prikazani na kolaž-slikama sa lica i sa naličja. Žig na dnu, štampan plavim, na dva tanjira: Crtež nagog keramičara koji kleči pri radu ENGLISH PORCELAIN (u kaišu oko crteža i ispod krune) (Inicijali) B. W & Co (za “Bates, Walker & Co”, na kraju kajša) Podglazurno utisnutio, takođe na dva tanjira: GILDEA (za James Gildea) Štampani žig je koristila kompanija “Bates, Walker & Co” u periodu 1875-1878 godine, tada vlasnik fabrike “Dale Hall Works”u Longsportu, Stoke-on-Tent. Podglazurno utisnuto “GILDEA”, je za James Gildea, koji se pridružio kompaniji 1878. godine. Prema utisnutoj oznaci 12/85 ova dva tanjira su proizveden u decembru 1885 godine (11/85), kada je Gildea ostao jedini vlasnik fabrike. To bi značilo da je nastavio da koristi žig prethodne kompanije, sa utisnutim dodatkom svog imena. Na jednom tanjiru nema štampanog žiga, već samo oznaka dekoratera i oznaka za datum proizvodnje: 8/74, tj. avgust 1884. godine. U to vreme, James Gildea nije učestvovao u radu fabrike, koja se zvala BATES, ELLIOT & CO. Fabriku “Dale Hall Works”, u Logsportu, u blizini Barslem (Barzlem), u području Stoke-on-Tent (Stouk-on-Tent) koje je bilo centar engleske keramičarske industrije, osnovao je Joseph Stubbs (Džozef Stabs) 1790. godine. Nakon povlačenja iz posla 1829. Godine, Stubbs je umro 1836. godine. Oko 1843. godine fabriku je preuzela kompanja “T J & J Mayer” tri brata Mayer (Mejer): Thomasa (Tomas), Johna (Džon) i Joshue (Džošua) Mayer. Proizvodili su kvalitetni višebojnu keramiku, koja je svojila medalju na britanskoj izložbi 1851. godine. 1855. godine kompaniji se pridružio Liddle Elliot (Lidl Eliot), i fabrika je radila pod imenom “Mayer Bros (braća Mejer) & Elliot” do 1858. godine, kada je u kompaniji ostao samo Joshua Mayer, a ime promenjeno u “Mayer & Elliot”. 1862. godine se i Joshua Mayer povukao iz posla, a Elliot je nastavio posao zajedno sa sinom Thomasom (Tomas) Elliotom: “Liddle Elliot & Son.” Kada je Liddle Elliot umro 1869. godine, u kompaniji ga je zamenio William Bates (Vilijem Bejts). Ime je promenjeno u „Bates, Elliot & Co“ a asortiman je proširen i fabrika je, pored keramičkog posuđa, proizvodila i sanitarni, fotografski, apotekarski i parfimerijski pribor. Elliot je napustio kompaniju 1875. godine, a zamenio ga je John Walker (Džon Voker). Sada se kompanija zvala “Bates, Walker & Co“. 1878. godine partnerima se pridružio James Gildea (Džejms Gildej). 1881. godine Bates je napustio posao a Gildea i Walker su nastavili zajedno, pod imenom “Gildea & Walker”. 1885. godine povukao se i Walker, a Gildea je nastavio posao sam. Fabrika je radila do 1888. godine. Prodaju se bez držača za tanjire. (118/33-40/129pod-kp/1215)

Stanje kao na fotografijama 70cm x 100cm Francuska veza (eng. The French Connection) je film Williama Friedkina iz 1971. Film je nastao na istinitoj knjizi Robina Moorea, dok je scenarij adaptiran pa priča nema veze sa stvarnošću. Govori o dva njujorška policajca koji pokušavaju presresti pošiljku heroina koja stiže iz Francuske. Priča je temeljena na stvarnoj `Francuskoj vezi` (zloglasnoj narko-ruti kojom se iz Turske preko Francuske heroin dopremao u Sjedinjene Države). U glavnim ulogama su nastupili Gene Hackman (kao njujorški policijski detektiv Jimmy `Popeye` Doyle), Roy Scheider (kao njegov partner Cloudy) i Fernando Rey. Film je dobitnik Oscara za najbolji film, a osim toga je osvojio nagrade u kategorijama najboljeg glavnog glumca (Gene Hackman), najboljeg redatelja, montaže i adaptiranog scenarija. Nominiran je za najboljeg sporednog glumca (Roy Scheider), najbolju fotografiju i zvuk. Naslov izvornika The French Connection Redatelj William Friedkin Producent Phillip D`Antoni Scenarist Robin Moore (roman) Ernest Tidyman (scenarij) Glavne uloge Gene Hackman Fernando Rey Roy Scheider Tony Lo Bianci Glazba Don Ellis Montaža Gerald B. Greenberg Distributer 20th Century Fox Godina izdanja 1971. Trajanje 104 min. Država Flag of the United States.svg SAD Jezik engleski francuski Proračun $1,800,000 Sljedeći Francuska veza 2 Osim dvojice protagonista, nekoliko izmišljenih likova ima temelj u stvarnim ljudima. Lik Alaina Charniera temeljen je na Jeanu Jehanu koji je poslije uhićen u Parizu zbog raspačavanja droge, iako nije izručen. Sal Boca temeljen je na Patsyju Fuci, a njegov brat na Fucovom bratu, Anthonyju. Angie Boca temeljena je na Patsyjevoj supruzi Barbari, koja je kasnije s Robinom Mooreom napisala knjigu u kojoj je detaljizirala svoj život s Patsyjem. Fucasovi i njihov ujak bili su dio ekipe dilera heroina koja je radila s nekim njujorškim kriminalističkim obiteljima. Henri Deveraux je temeljen na Jacquesu Angelinu, televizijskom glumcu koji je uhićen i osuđen na tri do šest godina, a odslužio je oko četiri prije povratka u Francusku. Lik Joela Weinstocka je, prema redateljevu komentaru, nastao kao poveznica nekoliko sličnih narko-dilera. Glumci Gene Hackman - Detektiv Jimmy `Popeye` Doyle Fernando Rey - Alain Charnier Roy Scheider - Detektiv Buddy `Cloudy` Russo Tony Lo Bianco - Salvatore `Sal` Boca Marcel Bozzuffi - Pierre Nicoli Frédéric de Pasquale - Henri Devereaux Bill Hickman - Bill Mulderig Ann Rebbot - gđa. Marie Charnier Harold Gary - Joel Weinstock Arlene Farber - Angie Boca Zanimljivosti Automobilska potjera iz filma bila je predmet parodije u filmu iz 1980., Braća Blues. Produkcija je počela u studenom 1970., a završena je u ožujku 1971. Peter Boyle je originalno angažiran za ulogu `Popaja` Doylea, ali je kasnije odustao jer je njegov agent smatrao kako će film doživjeti neuspjeh. Scena u kojoj ubojica s krova cilja Popeyea doživjela je referencu u filmu Veliki (1988.) kad glavni junak Josh Baskin (Tom Hanks) gleda televiziju. Charles Bronson bio je jedan od kandidata za ulogu koja je na kraju pripala Geneu Hackmanu. Redatelj Christopher Nolan koristio je automobilsku potjeru kao inspiraciju za potjeru u filmu iz 2005., Batman: Početak. Originalan filmski plakat Avala Genex

Originalni bioskopski (filmski) plakat: PRINC VALIJANT - VITEZOVI OKRULOG STOLA Opis: Svrgnut s prestola vikinškog kraljevstva Tula, kralj Aguar (D. Crisp) je sa suprugom i sinom bio prisiljen na bijeg, da bi utočište pronašao u Britaniji, u trošnoj utvrdi na otočiću okruženom močvarom. Tijekom godina njegov sin Valiant (R. Wagner) izrastao je u odvažnog mladića željnog pustolovine i uzbuđenja, momka koji mašta o tome da postane jedan od vitezova okruglog stola slavnog kralja Artura (B. Aherne), ali i da povrati očevu čast. Odlučan ostvariti svoje planove, Valiant se jednog dana oprosti s roditeljima i zaputi prema Arturovu dvorcu Camelot. Nakon što se tijekom puta sukobi sa zagonetnim i okrutnim Crnim vitezom, koji ga pokuša ubiti, Valiant susretne neustrašivog sir Gawaina (S. Hayden), jednog od Arturovih vitezova koji shvati da je pred njim hrabar mladić. Kad u pratnji sir Gawaina stigne u Camelot, Valiant bude izveden pred Artura i slavne vitezove okruglog stola predvođene markantnim sir Brackom (J. Mason). Doznavši da vikinzi protiv Artura kuju urotu koju predvodi upravo Crni vitez, Valiant pod sir Gawainovim vodstvom počne stjecati viteške vještine, poput spretnog rukovanja mačem i gađanja kopljem. A kad ga ubrzo u šumi rane vikinški strijelci, Valiant dospije u nježne ruke prelijepe kraljevne Alete (J. Leigh), Arturove kćeri u koju se zaljubi na prvi pogled. No uz složenu spletku Crnog viteza, koji uz pomoć Vikinga želi svrgnuti i ubiti Artura, ljubavnoj sreći Valianta i Alete ispriječit će se i sir Gawain, koji će se također zaljubiti u princezu...Dinamična, uzbudljiva i zabavna romantična pustolovina holivudskog redatelja Henryja Hathawaya (Kuća u 92. ulici, Crna ruža, Niagara, Kako je osvojen Divlji zapad, Sinovi Katie Elder, Nevada Smith) uspjela je slobodna adaptacija glasovitog stripa Princ Valiant Harolda `Hala` Fostera, premijerno objavljenog davne 1937. Jedno od najznačajnijih i najutjecajnijih remek-djela devete umjetnosti svih vremena, fascinantna strip-saga Prince Valiant - In the Days of King Arthur ostvarenje je prije čije je realizacije Hal Foster, autor podjednako slavnog stripa Tarzan, cijelu godinu temeljito proučavao povijest starog i ranog srednjeg vijeka, kao i legende o kralju Arturu te romanse o Tristanu i Izoldi, odnosno o Lancelotu i Guinevri. Tijekom proteklih sedam desetljeća Valiant je tako proputovao cijeli onodobni svijet, borio se protiv Huna i svjedočio propasti Rimskog carstva, da bi ljubav svog života pronašao u prelijepoj Aleti, vladarici Maglovitih otoka kojoj će ubuduće posvećivati sve svoje pustolovine. U suradnji sa scenaristom Dudleyem Nicholsom (Silom dadilja, Poštanska kočija, Dugo putovanje kući, Bitka za Midway, Kome zvono zvoni, Dogodilo se sutra), čestim suradnikom velikog Johna Forda, redatelj Henry Hathaway donekle mijenja slavni stripovski predložak i Fosterov strip spretno odijeva u ruho pustolovine tipične za razdoblje klasičnog Hollywooda. U tome mu pomaže i raspoložena glumačka postava predvođena R. Wagnerom (Poljubac prije smrti, Najduži dan, Pink Panther, Pakleni toranj, Austin Powers: Tajanstveni tajni agent), čiji su partneri S. Hayden (Džungla na asfaltu, Johnny Guitar, Uzaludna pljačka, Dr. Strangelove, Kum, Dugi oproštaj, Dvadeseto stoljeće), J. Leigh (Male žene, Gola mamuza, Dodir zla, Mandžurijski kandidat), za sporednu ulogu u Hitchcockovu `Psychu` 1961. nominirana za Oscara, i također tri puta za Oscara nominirani J. Mason (Julije Cezar, Zvijezda je rođena, Sjever-sjeverozapad, Lolita, Pad Rimskog carstva, Mayerling, Nebo može čekati). Režija: Henry Hathawaycy Glavne uloge: Janet Leigh, Debra Paget, Sterling Hayden, Victor McLaglen, Donald Crisp, Brian Aherne Kao na fotografijama. Standardne dimenzije (oko 69 x 49 cm)

dim. 15 x 23 cm nije potpisana b/w photography, it`s not signed, scene from train Born in Kruševac in 1973, Serbia, (lives in Belgrade) Graduated in 2002 on the Academy of Arts “Braća Karić”, photography department, Belgrade, Serbia. Founder and editor of the Cenetr for photography, (along with Mihailo Vasiljević), an independent non-profit organization established in Belgrade in 2011 for research, study and promotion of photography. Initiator and editor of Foto Forum, a series of interviews with photographers and artists on which present and promote local contemporary photographic production (Students’ City Cultural Center, 2010-2011) From 2013 lecturer of photography school in Center of Fine Arts & Education Šumatovačka in Belgrade, Serbia He received Dimitrije Bašičević Mangelos award (2008) for the best young visual artist in Serbia Selection from the one-man exhibition 2012 Reconstruction, Street Gallery, Belgrade, Serbia ФОТО, Gallery of Students’ city cultural center, Belgrade, Serbia The Documents, Cultural centre RIBNICA, Kraljevo, Serbia The Documents, Gallery of Centre for Culture in Sopot, Sopot, Serbia Underground shelters, Remont gallery (Interrogation, photographers of new generation in Serbia from 2000), Belgrade, Serbia Photo wall-paper, University Library “Svetozar Marković” in Belgrade, (Disruption, with Stefana Savić), Belgrade, Serbia 2009 The Documents, Salon of the Museum of Contemporary Art, Belgrade, Serbia Night spaces, Gallery Remont, Belgrade; Art gallery Kruševac, Serbia 2007 TV or TV, Gallery of Students’ city cultural center, Belgrade, Serbia 2004 Underground shelters, PIROSCHKA rev, MQ-21, Wien, Austria TV or TV, Gallery of the Youth Centre, Belgrade, Serbia 2003 Images, Gallery Remont, (PUNKT, with Mirijana Stojadinović and Andrija Pavlović), Belgrade, Serbia 2002 Registry, April gatherings, Gallery of the Students Culture Centre, Belgrade, Serbia 2001 Vitak 1999, Gallery of the Students Culture Centre, (with Petar Mirosavljević and Vukašin Nedeljković), Belgrade, Serbia Selection from the group exhibitions: 2013 4th Thessaloniki Biennale of Contemporary: Old Intersections – Make it New (central exhibition: Everywhere but Now), Periptero 6, Thessaloniki, Greece Amuse Me, City Gallery of Ljubljana, Slovenia Voies Off Vestival, Le voyage impossible, Arles, France 2012 Aftermath. Changing cultural landscape, Tendencies of engaged post-Yugoslavian contemporary photography, ParCo 2, Pordenone, Italy; National Museum of Slovenia, Ljubljana, Slovenia; 2013 – Klovićevi dvori, Zagreb, Croatia Photodocuments 02, Salon of Museum of Contemporary Art, Belgrade, Serbia What happened to Museum of Contemporary Art?, Museum of Contemporary Art Belgrade, Serbia 2011 DONUMENTA 2011 / Views: Visions – sketches of Serbian art after 2000, Kunstforum Ostdeutsche Galerie, Regensburg, Germany No Network-Time machine, D-O ARK Underground, site specific intervention, permanent installation, Konjic, BiH 2010 Photo documents, Site specific intervention, Museum of Railway Požega, permanent installation, Požega, Serbia Photonic Moments, The Month of Photography, The New Serbian Photography, Gallery Simulaker, Novo Mesto, Slovenia 25th Nadežda Petrović Memorial “I am what I am”, Art Gallery Nadežda Petrović/Čačanska Gimnazija, Čačak, Serbia 2009 Remont u Puli, Stara Tiskara in Pula, Pula, Croatia Snooze, Scaramuche@Fruit & Flower Deli gallery, New York, USA Land of Promises, Gallery ArtPoint, Wien, Austria; 2008, Cultural centre of Serbia, Paris, France; 2007, Gallery Apollonia, Strasbourg, France 2008 Photonic Moments; Cankarjev dom, Ljubljana, Slovenia It’s raining outside, but I don’t believe that it is; Banja Luka, Repabik of Srpska Still in time, Kunstraum BLAST, Cologne, Germany For a happier tomorrow; Gallery Tom Christoffersen, Copenhagen, Denmark Micro narratives; Musée d’art moderne, Saint Etienne, France 2007 Micro narratives; 48. October salon, Belgrade, Serbia 2006 Recognition; Art Gallery Nadežda Petrović, Čačak, Serbia; 2005 Actual Serbian photography; FOTOHOF Gallery, Salzburg, Austria 2004 VI biennale of the young artists; Vršac, Serbia Strange point of tension; Biljarda, Cetinje, Monte Negro Nus phenomenon; Gallery Nova, Zagreb, Croatia 2002 The annual exhibition of the centre for contemporary arts; Salon of the Museum of Contemporary Art, Belgrade, Serbia 2001 The Month of Photography; The Gallery of the Academy of Arts, Belgrade, Serbia Published Works: Critical Dictionary, 2011; 154-157; edited by David Evans; Black Dog Publication, London, UK; ISBN 978 1 907317 49 1 Artist and Residence program: 2004 KulturKontakt scholarship, Vienna, Austria 2011 Künstlerhaus, Schwandorf, Germany Artist talk performances: 2013 Seven Diferent Initiatives to Overcome…(along with UnaPopović), Künstlerhaus Bremen, Germany 2012 Artist as Audience, Museum of Contemporary Art, Belgrade, Serbia 2011 Documentarism – Appropriation – Revaluation, Galerie Für Zeit Genössische Kunst, Laipzig, Germany Curatorial projects: 2012 In a full light – photographs from the collection of the Center for Photography (along with Mihailo Vasiljević) - as part of the exhibition Photodocuments 02, Remont Gallery, Belgrade

18 x 24 cm potpisana signed b/w photography, fiber-based paper soldier Born in Kruševac in 1973, Serbia, (lives in Belgrade) Graduated in 2002 on the Academy of Arts “Braća Karić”, photography department, Belgrade, Serbia. Founder and editor of the Cenetr for photography, (along with Mihailo Vasiljević), an independent non-profit organization established in Belgrade in 2011 for research, study and promotion of photography. Initiator and editor of Foto Forum, a series of interviews with photographers and artists on which present and promote local contemporary photographic production (Students’ City Cultural Center, 2010-2011) From 2013 lecturer of photography school in Center of Fine Arts & Education Šumatovačka in Belgrade, Serbia He received Dimitrije Bašičević Mangelos award (2008) for the best young visual artist in Serbia Selection from the one-man exhibition 2012 Reconstruction, Street Gallery, Belgrade, Serbia ФОТО, Gallery of Students’ city cultural center, Belgrade, Serbia The Documents, Cultural centre RIBNICA, Kraljevo, Serbia The Documents, Gallery of Centre for Culture in Sopot, Sopot, Serbia Underground shelters, Remont gallery (Interrogation, photographers of new generation in Serbia from 2000), Belgrade, Serbia Photo wall-paper, University Library “Svetozar Marković” in Belgrade, (Disruption, with Stefana Savić), Belgrade, Serbia 2009 The Documents, Salon of the Museum of Contemporary Art, Belgrade, Serbia Night spaces, Gallery Remont, Belgrade; Art gallery Kruševac, Serbia 2007 TV or TV, Gallery of Students’ city cultural center, Belgrade, Serbia 2004 Underground shelters, PIROSCHKA rev, MQ-21, Wien, Austria TV or TV, Gallery of the Youth Centre, Belgrade, Serbia 2003 Images, Gallery Remont, (PUNKT, with Mirijana Stojadinović and Andrija Pavlović), Belgrade, Serbia 2002 Registry, April gatherings, Gallery of the Students Culture Centre, Belgrade, Serbia 2001 Vitak 1999, Gallery of the Students Culture Centre, (with Petar Mirosavljević and Vukašin Nedeljković), Belgrade, Serbia Selection from the group exhibitions: 2013 4th Thessaloniki Biennale of Contemporary: Old Intersections – Make it New (central exhibition: Everywhere but Now), Periptero 6, Thessaloniki, Greece Amuse Me, City Gallery of Ljubljana, Slovenia Voies Off Vestival, Le voyage impossible, Arles, France 2012 Aftermath. Changing cultural landscape, Tendencies of engaged post-Yugoslavian contemporary photography, ParCo 2, Pordenone, Italy; National Museum of Slovenia, Ljubljana, Slovenia; 2013 – Klovićevi dvori, Zagreb, Croatia Photodocuments 02, Salon of Museum of Contemporary Art, Belgrade, Serbia What happened to Museum of Contemporary Art?, Museum of Contemporary Art Belgrade, Serbia 2011 DONUMENTA 2011 / Views: Visions – sketches of Serbian art after 2000, Kunstforum Ostdeutsche Galerie, Regensburg, Germany No Network-Time machine, D-O ARK Underground, site specific intervention, permanent installation, Konjic, BiH 2010 Photo documents, Site specific intervention, Museum of Railway Požega, permanent installation, Požega, Serbia Photonic Moments, The Month of Photography, The New Serbian Photography, Gallery Simulaker, Novo Mesto, Slovenia 25th Nadežda Petrović Memorial “I am what I am”, Art Gallery Nadežda Petrović/Čačanska Gimnazija, Čačak, Serbia 2009 Remont u Puli, Stara Tiskara in Pula, Pula, Croatia Snooze, Scaramuche@Fruit & Flower Deli gallery, New York, USA Land of Promises, Gallery ArtPoint, Wien, Austria; 2008, Cultural centre of Serbia, Paris, France; 2007, Gallery Apollonia, Strasbourg, France 2008 Photonic Moments; Cankarjev dom, Ljubljana, Slovenia It’s raining outside, but I don’t believe that it is; Banja Luka, Repabik of Srpska Still in time, Kunstraum BLAST, Cologne, Germany For a happier tomorrow; Gallery Tom Christoffersen, Copenhagen, Denmark Micro narratives; Musée d’art moderne, Saint Etienne, France 2007 Micro narratives; 48. October salon, Belgrade, Serbia 2006 Recognition; Art Gallery Nadežda Petrović, Čačak, Serbia; 2005 Actual Serbian photography; FOTOHOF Gallery, Salzburg, Austria 2004 VI biennale of the young artists; Vršac, Serbia Strange point of tension; Biljarda, Cetinje, Monte Negro Nus phenomenon; Gallery Nova, Zagreb, Croatia 2002 The annual exhibition of the centre for contemporary arts; Salon of the Museum of Contemporary Art, Belgrade, Serbia 2001 The Month of Photography; The Gallery of the Academy of Arts, Belgrade, Serbia Published Works: Critical Dictionary, 2011; 154-157; edited by David Evans; Black Dog Publication, London, UK; ISBN 978 1 907317 49 1 Artist and Residence program: 2004 KulturKontakt scholarship, Vienna, Austria 2011 Künstlerhaus, Schwandorf, Germany Artist talk performances: 2013 Seven Diferent Initiatives to Overcome…(along with UnaPopović), Künstlerhaus Bremen, Germany 2012 Artist as Audience, Museum of Contemporary Art, Belgrade, Serbia 2011 Documentarism – Appropriation – Revaluation, Galerie Für Zeit Genössische Kunst, Laipzig, Germany Curatorial projects: 2012 In a full light – photographs from the collection of the Center for Photography (along with Mihailo Vasiljević) - as part of the exhibition Photodocuments 02, Remont Gallery, Belgrade

20 x 30 cm potpisana signed b/w photography, fiber-based paper Born in Kruševac in 1973, Serbia, (lives in Belgrade) Graduated in 2002 on the Academy of Arts “Braća Karić”, photography department, Belgrade, Serbia. Founder and editor of the Cenetr for photography, (along with Mihailo Vasiljević), an independent non-profit organization established in Belgrade in 2011 for research, study and promotion of photography. Initiator and editor of Foto Forum, a series of interviews with photographers and artists on which present and promote local contemporary photographic production (Students’ City Cultural Center, 2010-2011) From 2013 lecturer of photography school in Center of Fine Arts & Education Šumatovačka in Belgrade, Serbia He received Dimitrije Bašičević Mangelos award (2008) for the best young visual artist in Serbia Selection from the one-man exhibition 2012 Reconstruction, Street Gallery, Belgrade, Serbia ФОТО, Gallery of Students’ city cultural center, Belgrade, Serbia The Documents, Cultural centre RIBNICA, Kraljevo, Serbia The Documents, Gallery of Centre for Culture in Sopot, Sopot, Serbia Underground shelters, Remont gallery (Interrogation, photographers of new generation in Serbia from 2000), Belgrade, Serbia Photo wall-paper, University Library “Svetozar Marković” in Belgrade, (Disruption, with Stefana Savić), Belgrade, Serbia 2009 The Documents, Salon of the Museum of Contemporary Art, Belgrade, Serbia Night spaces, Gallery Remont, Belgrade; Art gallery Kruševac, Serbia 2007 TV or TV, Gallery of Students’ city cultural center, Belgrade, Serbia 2004 Underground shelters, PIROSCHKA rev, MQ-21, Wien, Austria TV or TV, Gallery of the Youth Centre, Belgrade, Serbia 2003 Images, Gallery Remont, (PUNKT, with Mirijana Stojadinović and Andrija Pavlović), Belgrade, Serbia 2002 Registry, April gatherings, Gallery of the Students Culture Centre, Belgrade, Serbia 2001 Vitak 1999, Gallery of the Students Culture Centre, (with Petar Mirosavljević and Vukašin Nedeljković), Belgrade, Serbia Selection from the group exhibitions: 2013 4th Thessaloniki Biennale of Contemporary: Old Intersections – Make it New (central exhibition: Everywhere but Now), Periptero 6, Thessaloniki, Greece Amuse Me, City Gallery of Ljubljana, Slovenia Voies Off Vestival, Le voyage impossible, Arles, France 2012 Aftermath. Changing cultural landscape, Tendencies of engaged post-Yugoslavian contemporary photography, ParCo 2, Pordenone, Italy; National Museum of Slovenia, Ljubljana, Slovenia; 2013 – Klovićevi dvori, Zagreb, Croatia Photodocuments 02, Salon of Museum of Contemporary Art, Belgrade, Serbia What happened to Museum of Contemporary Art?, Museum of Contemporary Art Belgrade, Serbia 2011 DONUMENTA 2011 / Views: Visions – sketches of Serbian art after 2000, Kunstforum Ostdeutsche Galerie, Regensburg, Germany No Network-Time machine, D-O ARK Underground, site specific intervention, permanent installation, Konjic, BiH 2010 Photo documents, Site specific intervention, Museum of Railway Požega, permanent installation, Požega, Serbia Photonic Moments, The Month of Photography, The New Serbian Photography, Gallery Simulaker, Novo Mesto, Slovenia 25th Nadežda Petrović Memorial “I am what I am”, Art Gallery Nadežda Petrović/Čačanska Gimnazija, Čačak, Serbia 2009 Remont u Puli, Stara Tiskara in Pula, Pula, Croatia Snooze, Scaramuche@Fruit & Flower Deli gallery, New York, USA Land of Promises, Gallery ArtPoint, Wien, Austria; 2008, Cultural centre of Serbia, Paris, France; 2007, Gallery Apollonia, Strasbourg, France 2008 Photonic Moments; Cankarjev dom, Ljubljana, Slovenia It’s raining outside, but I don’t believe that it is; Banja Luka, Repabik of Srpska Still in time, Kunstraum BLAST, Cologne, Germany For a happier tomorrow; Gallery Tom Christoffersen, Copenhagen, Denmark Micro narratives; Musée d’art moderne, Saint Etienne, France 2007 Micro narratives; 48. October salon, Belgrade, Serbia 2006 Recognition; Art Gallery Nadežda Petrović, Čačak, Serbia; 2005 Actual Serbian photography; FOTOHOF Gallery, Salzburg, Austria 2004 VI biennale of the young artists; Vršac, Serbia Strange point of tension; Biljarda, Cetinje, Monte Negro Nus phenomenon; Gallery Nova, Zagreb, Croatia 2002 The annual exhibition of the centre for contemporary arts; Salon of the Museum of Contemporary Art, Belgrade, Serbia 2001 The Month of Photography; The Gallery of the Academy of Arts, Belgrade, Serbia Published Works: Critical Dictionary, 2011; 154-157; edited by David Evans; Black Dog Publication, London, UK; ISBN 978 1 907317 49 1 Artist and Residence program: 2004 KulturKontakt scholarship, Vienna, Austria 2011 Künstlerhaus, Schwandorf, Germany Artist talk performances: 2013 Seven Diferent Initiatives to Overcome…(along with UnaPopović), Künstlerhaus Bremen, Germany 2012 Artist as Audience, Museum of Contemporary Art, Belgrade, Serbia 2011 Documentarism – Appropriation – Revaluation, Galerie Für Zeit Genössische Kunst, Laipzig, Germany Curatorial projects: 2012 In a full light – photographs from the collection of the Center for Photography (along with Mihailo Vasiljević) - as part of the exhibition Photodocuments 02, Remont Gallery, Belgrade

30 x 20 cm potpisana signed b/w photography, fiber-based paper Born in Kruševac in 1973, Serbia, (lives in Belgrade) Graduated in 2002 on the Academy of Arts “Braća Karić”, photography department, Belgrade, Serbia. Founder and editor of the Cenetr for photography, (along with Mihailo Vasiljević), an independent non-profit organization established in Belgrade in 2011 for research, study and promotion of photography. Initiator and editor of Foto Forum, a series of interviews with photographers and artists on which present and promote local contemporary photographic production (Students’ City Cultural Center, 2010-2011) From 2013 lecturer of photography school in Center of Fine Arts & Education Šumatovačka in Belgrade, Serbia He received Dimitrije Bašičević Mangelos award (2008) for the best young visual artist in Serbia Selection from the one-man exhibition 2012 Reconstruction, Street Gallery, Belgrade, Serbia ФОТО, Gallery of Students’ city cultural center, Belgrade, Serbia The Documents, Cultural centre RIBNICA, Kraljevo, Serbia The Documents, Gallery of Centre for Culture in Sopot, Sopot, Serbia Underground shelters, Remont gallery (Interrogation, photographers of new generation in Serbia from 2000), Belgrade, Serbia Photo wall-paper, University Library “Svetozar Marković” in Belgrade, (Disruption, with Stefana Savić), Belgrade, Serbia 2009 The Documents, Salon of the Museum of Contemporary Art, Belgrade, Serbia Night spaces, Gallery Remont, Belgrade; Art gallery Kruševac, Serbia 2007 TV or TV, Gallery of Students’ city cultural center, Belgrade, Serbia 2004 Underground shelters, PIROSCHKA rev, MQ-21, Wien, Austria TV or TV, Gallery of the Youth Centre, Belgrade, Serbia 2003 Images, Gallery Remont, (PUNKT, with Mirijana Stojadinović and Andrija Pavlović), Belgrade, Serbia 2002 Registry, April gatherings, Gallery of the Students Culture Centre, Belgrade, Serbia 2001 Vitak 1999, Gallery of the Students Culture Centre, (with Petar Mirosavljević and Vukašin Nedeljković), Belgrade, Serbia Selection from the group exhibitions: 2013 4th Thessaloniki Biennale of Contemporary: Old Intersections – Make it New (central exhibition: Everywhere but Now), Periptero 6, Thessaloniki, Greece Amuse Me, City Gallery of Ljubljana, Slovenia Voies Off Vestival, Le voyage impossible, Arles, France 2012 Aftermath. Changing cultural landscape, Tendencies of engaged post-Yugoslavian contemporary photography, ParCo 2, Pordenone, Italy; National Museum of Slovenia, Ljubljana, Slovenia; 2013 – Klovićevi dvori, Zagreb, Croatia Photodocuments 02, Salon of Museum of Contemporary Art, Belgrade, Serbia What happened to Museum of Contemporary Art?, Museum of Contemporary Art Belgrade, Serbia 2011 DONUMENTA 2011 / Views: Visions – sketches of Serbian art after 2000, Kunstforum Ostdeutsche Galerie, Regensburg, Germany No Network-Time machine, D-O ARK Underground, site specific intervention, permanent installation, Konjic, BiH 2010 Photo documents, Site specific intervention, Museum of Railway Požega, permanent installation, Požega, Serbia Photonic Moments, The Month of Photography, The New Serbian Photography, Gallery Simulaker, Novo Mesto, Slovenia 25th Nadežda Petrović Memorial “I am what I am”, Art Gallery Nadežda Petrović/Čačanska Gimnazija, Čačak, Serbia 2009 Remont u Puli, Stara Tiskara in Pula, Pula, Croatia Snooze, Scaramuche@Fruit & Flower Deli gallery, New York, USA Land of Promises, Gallery ArtPoint, Wien, Austria; 2008, Cultural centre of Serbia, Paris, France; 2007, Gallery Apollonia, Strasbourg, France 2008 Photonic Moments; Cankarjev dom, Ljubljana, Slovenia It’s raining outside, but I don’t believe that it is; Banja Luka, Repabik of Srpska Still in time, Kunstraum BLAST, Cologne, Germany For a happier tomorrow; Gallery Tom Christoffersen, Copenhagen, Denmark Micro narratives; Musée d’art moderne, Saint Etienne, France 2007 Micro narratives; 48. October salon, Belgrade, Serbia 2006 Recognition; Art Gallery Nadežda Petrović, Čačak, Serbia; 2005 Actual Serbian photography; FOTOHOF Gallery, Salzburg, Austria 2004 VI biennale of the young artists; Vršac, Serbia Strange point of tension; Biljarda, Cetinje, Monte Negro Nus phenomenon; Gallery Nova, Zagreb, Croatia 2002 The annual exhibition of the centre for contemporary arts; Salon of the Museum of Contemporary Art, Belgrade, Serbia 2001 The Month of Photography; The Gallery of the Academy of Arts, Belgrade, Serbia Published Works: Critical Dictionary, 2011; 154-157; edited by David Evans; Black Dog Publication, London, UK; ISBN 978 1 907317 49 1 Artist and Residence program: 2004 KulturKontakt scholarship, Vienna, Austria 2011 Künstlerhaus, Schwandorf, Germany Artist talk performances: 2013 Seven Diferent Initiatives to Overcome…(along with UnaPopović), Künstlerhaus Bremen, Germany 2012 Artist as Audience, Museum of Contemporary Art, Belgrade, Serbia 2011 Documentarism – Appropriation – Revaluation, Galerie Für Zeit Genössische Kunst, Laipzig, Germany Curatorial projects: 2012 In a full light – photographs from the collection of the Center for Photography (along with Mihailo Vasiljević) - as part of the exhibition Photodocuments 02, Remont Gallery, Belgrade

21 x 30 cm potpisana signed b/w photography, fiber-based paper Born in Kruševac in 1973, Serbia, (lives in Belgrade) Graduated in 2002 on the Academy of Arts “Braća Karić”, photography department, Belgrade, Serbia. Founder and editor of the Cenetr for photography, (along with Mihailo Vasiljević), an independent non-profit organization established in Belgrade in 2011 for research, study and promotion of photography. Initiator and editor of Foto Forum, a series of interviews with photographers and artists on which present and promote local contemporary photographic production (Students’ City Cultural Center, 2010-2011) From 2013 lecturer of photography school in Center of Fine Arts & Education Šumatovačka in Belgrade, Serbia He received Dimitrije Bašičević Mangelos award (2008) for the best young visual artist in Serbia Selection from the one-man exhibition 2012 Reconstruction, Street Gallery, Belgrade, Serbia ФОТО, Gallery of Students’ city cultural center, Belgrade, Serbia The Documents, Cultural centre RIBNICA, Kraljevo, Serbia The Documents, Gallery of Centre for Culture in Sopot, Sopot, Serbia Underground shelters, Remont gallery (Interrogation, photographers of new generation in Serbia from 2000), Belgrade, Serbia Photo wall-paper, University Library “Svetozar Marković” in Belgrade, (Disruption, with Stefana Savić), Belgrade, Serbia 2009 The Documents, Salon of the Museum of Contemporary Art, Belgrade, Serbia Night spaces, Gallery Remont, Belgrade; Art gallery Kruševac, Serbia 2007 TV or TV, Gallery of Students’ city cultural center, Belgrade, Serbia 2004 Underground shelters, PIROSCHKA rev, MQ-21, Wien, Austria TV or TV, Gallery of the Youth Centre, Belgrade, Serbia 2003 Images, Gallery Remont, (PUNKT, with Mirijana Stojadinović and Andrija Pavlović), Belgrade, Serbia 2002 Registry, April gatherings, Gallery of the Students Culture Centre, Belgrade, Serbia 2001 Vitak 1999, Gallery of the Students Culture Centre, (with Petar Mirosavljević and Vukašin Nedeljković), Belgrade, Serbia Selection from the group exhibitions: 2013 4th Thessaloniki Biennale of Contemporary: Old Intersections – Make it New (central exhibition: Everywhere but Now), Periptero 6, Thessaloniki, Greece Amuse Me, City Gallery of Ljubljana, Slovenia Voies Off Vestival, Le voyage impossible, Arles, France 2012 Aftermath. Changing cultural landscape, Tendencies of engaged post-Yugoslavian contemporary photography, ParCo 2, Pordenone, Italy; National Museum of Slovenia, Ljubljana, Slovenia; 2013 – Klovićevi dvori, Zagreb, Croatia Photodocuments 02, Salon of Museum of Contemporary Art, Belgrade, Serbia What happened to Museum of Contemporary Art?, Museum of Contemporary Art Belgrade, Serbia 2011 DONUMENTA 2011 / Views: Visions – sketches of Serbian art after 2000, Kunstforum Ostdeutsche Galerie, Regensburg, Germany No Network-Time machine, D-O ARK Underground, site specific intervention, permanent installation, Konjic, BiH 2010 Photo documents, Site specific intervention, Museum of Railway Požega, permanent installation, Požega, Serbia Photonic Moments, The Month of Photography, The New Serbian Photography, Gallery Simulaker, Novo Mesto, Slovenia 25th Nadežda Petrović Memorial “I am what I am”, Art Gallery Nadežda Petrović/Čačanska Gimnazija, Čačak, Serbia 2009 Remont u Puli, Stara Tiskara in Pula, Pula, Croatia Snooze, Scaramuche@Fruit & Flower Deli gallery, New York, USA Land of Promises, Gallery ArtPoint, Wien, Austria; 2008, Cultural centre of Serbia, Paris, France; 2007, Gallery Apollonia, Strasbourg, France 2008 Photonic Moments; Cankarjev dom, Ljubljana, Slovenia It’s raining outside, but I don’t believe that it is; Banja Luka, Repabik of Srpska Still in time, Kunstraum BLAST, Cologne, Germany For a happier tomorrow; Gallery Tom Christoffersen, Copenhagen, Denmark Micro narratives; Musée d’art moderne, Saint Etienne, France 2007 Micro narratives; 48. October salon, Belgrade, Serbia 2006 Recognition; Art Gallery Nadežda Petrović, Čačak, Serbia; 2005 Actual Serbian photography; FOTOHOF Gallery, Salzburg, Austria 2004 VI biennale of the young artists; Vršac, Serbia Strange point of tension; Biljarda, Cetinje, Monte Negro Nus phenomenon; Gallery Nova, Zagreb, Croatia 2002 The annual exhibition of the centre for contemporary arts; Salon of the Museum of Contemporary Art, Belgrade, Serbia 2001 The Month of Photography; The Gallery of the Academy of Arts, Belgrade, Serbia Published Works: Critical Dictionary, 2011; 154-157; edited by David Evans; Black Dog Publication, London, UK; ISBN 978 1 907317 49 1 Artist and Residence program: 2004 KulturKontakt scholarship, Vienna, Austria 2011 Künstlerhaus, Schwandorf, Germany Artist talk performances: 2013 Seven Diferent Initiatives to Overcome…(along with UnaPopović), Künstlerhaus Bremen, Germany 2012 Artist as Audience, Museum of Contemporary Art, Belgrade, Serbia 2011 Documentarism – Appropriation – Revaluation, Galerie Für Zeit Genössische Kunst, Laipzig, Germany Curatorial projects: 2012 In a full light – photographs from the collection of the Center for Photography (along with Mihailo Vasiljević) - as part of the exhibition Photodocuments 02, Remont Gallery, Belgrade

ROSENTHAL - Četiri dezertna tanjira `Classic Rose` Dimenzije Prečnik: 19,5 cm Visina: 2 cm Ukupna težina: 1050 g Tragovi pribora na dnu tanjira. Žig na dnu: Dve ukrštene ruže ispod krune CLASSIC ROSE ROSENTHAL GROUP GERMANY 1974. godine Rosenthal je re-brendirao neke svoje klasične modele u pod-brend “Classic Rose”, a u žigu se umesto “Rosenthal” pojavljuje “Rosenthal Group”. Ovaj žig je bio u upotrebi od 1983. do 1991. godine. 1897. godine Philipp Rosenthal (Filip Rozental, 1855 – 1937) osnovao je kompanije „ Bauer, Rosenthal & Co. “ i „ Philipp Rosenthal & Co. AG” , koje su započele kao porodični posao. 1908. godine kupio je fabriku “ Porcelain manufacturer Thomas” u mestu Marktredwitz (Marktredvic), a 1917. i kompaniju “ Zeidler & Co.”. 1921. godine preuzeo je i “ Krister Porzellanmanufaktur” u mestu Wałbrzych (Valbžis). 1908. godine, kada je imao samo 25 godina, Philipp Rosenthal je već vodio fabriku sa 1.200 zaposlenih, o čijoj dobrobiti je posebno vodio računa. I pre bilo kakvih propisa za tu oblast, zaposleni u “ Rosenthal” -u su bili daleko najviše plaćeni u čitavoj industriji porcelana, imali su plaćeno odsustvo za praznike, izgrađen je poseban smeštaj za radnike po izuzetno povoljnim cenama, kompanija je finansirala jaslice za decu radnika i dodeljivala besplatno radnicima zemlju koju su mogli da koriste za bašte. U periodu nacionalsocijalizma, Philipp Rosenthal je morao, zbog svog jevrejskog porekla, da se povuče iz preduzeća 1934. godine. Upravni i Nadzorni odbor okrenuli su se protiv Rosenthala i koristili različite smicalice kako bi ga sprečili da koristi svoje akcije s pravom glasa. Nacistička partija iskoristila je svoj uticaj kako bi fabrika prodala akcije licima koja nisu bila naklonjena Rosenthalu. Međutim, nacistički režim nije direktno proganjao Rosenthala kako ne bi bilo ugroženo poslovanje sa stranim preduzećima. Na tajne načine, nacisti su pokušavali da pridobiju pojedine članove porodice. Smrt Philippa Rosenthala 1937. godine otvorila je put unucima i anti-semitskom Upravnom odboru. 1936. godine preduzeće je promenilo ime u `Rosenthal Porzellan AG. ” Kada je 1941. godine donet dekret kojim se zabranjuje upotreba jevrejskih imena u nazivima preduzeća, nacistička uprava izdejstvovala je direktno preko Josepha Goebbelsa (Jozef Gebels)da kompanija nastavi da koristi ime “ Rosenthal” . Posle rata, Philip, sina Philipp-a Rosenthala, vratio se iz izbeglištva i ušao u fabriku 1950. godine. On je imao pionirsku ulogu u prihvatanju modernog dizajna. 1960. godine otvoren je “ Rosenthal Studiohaus” u Nurembergu, iz kojeg su izlazili tada u svetu najprefinjenjenije dizajanirani predmeti. Ime fabrike preinačeno je u “ Rosenthal AG” 1969. godine. U saradnji sa industrijskim dizajnerima kao što su Raymond Loewy (Rejmond Loi), Tapio Wirkkala (Tapio Virkala), Elsa Fischer-Treyden (Elza Fišer-Trejden), Timo Sarpaneva, Verner Panton (Verner Penton) i Luigi Colani (Luiđi Kolani), ), stvorena je impresivnu serija proizvoda.. Walter Gropius dizajnirao je dve nove fabričke zgrade u skladu s preciznim, radniku okrenutim, minimalističkim principima koje je razvio kao jedan od tvoraca pokreta Bauhaus, kao i servis za čaj nazvan TAC, u čast „ The Architect’ s Collaborative group“ čiji je bio jedan od osnivača. 1997. godine 90% preduzeća je prešlo u posed britansko-irske “ Waterford Wedgwood Group” . “ Rosenthal” , koji je do tada bio lider na tržištu visoko-kvalitetnog porcelana i stakla u Nemačkoj, ulaskom u “ Waterford Wedgwood Group” postao je lider i na svetskom tržištu. 2000. godine kompanija je preuzela brend „ Hutschenreuther” (Hučenrojter)i „ Hutschenreuther-Werk B“ u Selbu (Zelb). U junu 2008. godine “ Waterford Wedgwood Group” dospela je u probleme s likvidnošću i želela je da se oslobodi paketa akcija u “ Rosenthal” -u, koji je u tom trenutku zapošljavao oko 1.100 radnika u čitavom svetu. Kompanija, suočena s nelikvidnošću zbog kolapsa “ Waterford Wedgwood“ -a, podnela je zahtev za stečaj 9. januara 2009. godine. U julu kompanija je prodata italijanskom proizvođaču opreme za domaćinstvo „ Sambonet - Paderno“ . Reosnovana je 1. avgusta 2009. godine pod imenom “ Rosenthal GmbH” , kao nezavisna kompanija unutar „ Sambonet-Paderno Group“ . „ Rosenthal Archive“ , zbirku oko 15.000 eksponata iz 130 godina duge tradicije kompanije, kupila je Oberfranken fondacija u avgustu 2009. godine i sada se nalazi u „ Porzellanikon” -u, državnom muzeju porcelana u mestu Hohenberg an der Eger (Hoenberg an der Erger). Zbirka obuhvata skoro sve dizajne proizvoda od nastanka kompanije do danas, kao i originalne dizajne umetnika kao što su Salvador Dalí , Andy Warhol (Endi Vorhol), Wilhelm Wagenfeld (Vilhelm Vagenfeld) i Walter Gropius koje su radili za “ Rosenthal”. Prodaju se bez držača za tanjire. (117/3-37/119-kp/1136)

411 Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! 100% Popunjen 8 str. The Ultimate Star Wars Episode 1, Sticker Book Ponovo otkrijte uzbuđenje najnovije avanture Ratova zvezda i napravite sopstvenu slikovnicu koristeći likove, vozila i svemirske letelice koje se nalaze u ovoj knjizi koja sadrži preko 60 vrhunskih nalepnica u boji. Odeljci uključuju ključni informativni tekst o svim vašim omiljenim likovima i stvorenjima, uključujući planetu Nabu, savez mračnih sila, planetu Tatuin i prestonicu Republike Koruskanta. Pročitajte naslove brošure i, koristeći tekst pored svake nalepnice, izaberite sliku koja se najbolje uklapa u raspoloživi prostor. Ne zaboravite da se vaše nalepnice mogu staviti na stranicu i ponovo odlepiti. Ako ste pažljivi, možete koristiti svoje nalepnice iz Ratova zvezda više puta. Takođe možete da koristite svoje nalepnice iz Ratova zvezda da ukrasite sopstvene knjige. Ratovi zvezda (engl. Star Wars) američka je multimedijska franšiza čiji je autor Džordž Lukas, a koja je započela istoimenim filmom iz 1977.[b] i ubrzo postala svetski fenomen pop kulture. Franšiza je proširena na više filmova i druge medije, poput televizijskih serija, video-igara, romana, stripova, atrakcija tematskih parkova i tematskih arena, koji su deo sveobuhvatnog izmišljenog univerzuma.[v] Godine 2020. ukupna vrednost procenjena je na 70 milijardi dolara i trenutno je peta medijska franšiza sa najvećom zaradom svih vremena. Originalni film (Ratovi zvezda), kasnije podnaslovljen Epizoda IV — Nova nada (1977), pratili su Epizoda V — Imperija uzvraća udarac (1980) i Epizoda VI — Povratak džedaja (1983), stvorivši trilogiju originala. Lukas je kasnije režirao trilogiju prednastavaka, koju čini Epizoda I — Fantomska pretnja (1999), Epizoda II — Napad klonova i Epizoda III — Osveta sita (2005). Godine 2012. Lukas je prodao svoju produkcijsku kuću Dizniju, odrekavši se vlasništva nad franšizom. Ovo je dovelo do trilogije nastavaka, koju čini Epizoda VII: Buđenje sile (2015), Epizoda VIII: Poslednji džedaji (2017) i Epizoda IX: Uspon Skajvokera (2019). Svih devet filmova „Sage o Skajvokeru” nominovano je za Oskara, a prva dva su i osvojila nagradu. Zajedno sa „antologijskim” filmovima Odmetnik-1 (2016) i Solo (2018), kombinovani prihod iznosi preko 10 milijardi dolara, što je čini drugom filmskom franšizom sa najvećom zaradom svih vremena.[1][2] U pripremi su dodatni predstojeći filmovi, uključujući nenaslovljeni film Tajka Vajtitija koji je planiran za 2023. godinu. Premisa Franšiza Ratovi zvezda prikazuje pustolovine likova „nekada davno, u dalekoj galaksiji”,[3] u kojoj ljudi i mnoge vrste vanzemaljaca (često humanoidni) koegzistiraju sa robotima (koji se u filmovima obično nazivaju „droidi”), koji im pomažu u svakodnevnom životu; svemirski letovi između planeta su uobičajeni zbog hiperprostorne tehnologije brzine svetlosti.[4][5][6] Planete se kreću od izuzetno bogatih do pustinja koje naseljavaju samo primitivna plemena. Praktično svaki biom Zemlje, pored mnogo izmišljenih, ima svoj pandan kao planetu iz Ratova zvezda koja, u većini slučajeva, vrvi od čulnih i neosetljivih vanzemaljaca.[7] Franšiza takođe koristi druge astronomske objekte kao što su asteroidna polja i magline.[8][9] Svemirske letelice se kreću od malih lovaca, preko ogromnih kapitalnih brodova kao što su razarači zvezda, do svemirskih stanica kao što su Zvezde smrti veličine meseca. Telekomunikacije obuhvataju dvosmerne audio i audiovizuelne projektore, holografske projekcije i HoloNet (internet pandan). Univerzum Ratova zvezda je uglavnom sličan našem, ali su njegovi zakoni fizike manje strogi i dozvoljavaju maštovitije priče.[10] Jedna od njih je mistična moć poznata kao Sila koja je u originalnom filmu opisana kao „energetsko polje svih živih bića... [koje] povezuje galaksiju”.[11] Polje je prikazano kao neka vrsta panteističkog boga.[12] Kroz obuku i meditaciju, oni u kojima je „Sila jaka” mogu da ostvare različite supermoći (kao što su telekineza, prekognicija, telepatija i upravljanje fizičkom energijom).[13] Veruje se da za Silu ništa nije nemoguće.[14] Pomenute moći imaju dva glavna viteška reda u međusobnom sukobu: džedaji, mirovnjaci Galaktičke Republike koji deluju na svetloj strani Sile putem nevezivanja i arbitraže, i siti, koji koriste tamnu stranu tako što upravljaju strahom i agresijom. Dok džedaji mogu biti brojni, siti (ili „dartovi”) su ograničeni na dvoje: učitelja i njegovog učenika.[15] Vladari Sile su veoma malobrojni u poređenju sa populacijom. Džedaji i siti koriste oružje koje se zove svetlosna sablja, sečivo koje može da preseče gotovo svaku površinu i odbije energetske vijke. Ostatak stanovništva, kao i odmetnici i vojnici, koriste vatreno oružje poput blastera. Zbog politike na nivou galaksije, svo ovo oružje se koristi u raznim vojnim sukobima tokom kojih se odvija većina materijala iz Ratova zvezda. U spoljnim krajevima galaksije dominiraju kriminalni sindikati kao što je kartel hatova. Gangsteri i vlade često unajmljuju lovce na glave. Nezakonite aktivnosti uključuju krijumčarenje i ropstvo. Planete koje omogućavaju bezbroj postavki i neverovatnu raznolikost života, tehnologija na različitim nivoima napredovanja i elementi fantastike čine Ratove zvezda veoma univerzalnom franšizom. Praktično svaki žanr i tip priče može se prilagoditi tako da se uklopi u franšizu....

Branko Radičević (Slavonski Brod, 28. mart 1824 — Beč, 1. jul 1853) je bio srpski romantičarski pesnik. Radičević je uz Đuru Daničića bio najodaniji sledbenik Vukove reforme pravopisa srpskog jezika i uvođenja narodnog jezika u književnost. Napisao je svega pedeset četiri lirske i sedam epskih pesama, dva odlomka epskih pesama, dvadeset osam pisama i jedan odgovor na kritiku. Branko Radičević je pored Jovana Jovanovića Zmaja i Laze Kostića bio najznačajniji pesnik srpskog romantizma. U spomen na pesničku zaostavštinu B. Radičevića svake jeseni na Stražilovu, u S. Karlovcima i Novom Sadu održava se manifestacija Brankovo kolo. Radičević je rođen u Brodu na Savi 28. marta 1824. godine u porodici Todora (Božidara) i Ruže Radičević, kćerke bogatog Vukovarskog trgovca Janka Mihajlovića. Pošto je rođen dan uoči svetog Aleksija, po njemu je i dobio ime Aleksije. Kršten je sutradan od strane kuma Janka Božića, građanina brodskog. Branko po ocu vodi poreklo (iz Boljevaca) starinom iz stare srpske Zete, pa se porodica zbog turskog nasilja selila preko Kotora i Budve, u Slavoniju. Pred objavljivanje svoje prve knjige, svoje ime će promeniti u Branko (posrbljeno ime). Brankov otac Todor je bio carinski činovnik, ali se takođe bavio i književnošću i preveo je sa nemačkog jezika Šilerovog „Viljema Tela“. Branko je imao brata Stevana i sestru Amaliju, koja je umrla u drugoj godini života. Majka Ruža (* 1802 - † 1833) umrla je prerano od tuberkuloze, kada je Branko bio dete. Njegovo poreklo je bilo predmet sporova, a po jednom predanju preci su mu iz Zete . Golub (novine) su takođe o tome pisale . U rodnom gradu (danas nosi ime Slavonski Brod) po Branku su nosile naziv dve škole, današnji Strojarski (mašinski) fakultet (tada gimnazija) i osnovna škola Đure Pilara u Brodskom Vinogorju. Jedna ulica je nazvana po njemu, a imao je i dve spomen ploče, na rodnoj kući i starijoj gimnaziji, danas Mašinskom fakultetu. Pred rat devedesetih godina 20. veka (1991. godine) sve je to uklonjeno, a od nestanka je sačuvana samo jedna spomen ploča sa Mašinskog fakulteta koja se čuvala u depou gradskog muzeja. Ona je nastojanjima Srba iz Broda 2018. godine opet na javnom mestu. Postavljena je u porti pravoslavne crkve u izgradnji (nakon što je srušena 1991. godine). Osim nekih Srba koji su prisustvovali svečanosti ponovnog otkrivanja spomen ploče, svečanosti se nije odazvao niko od zvaničnih predstavnika grada i županije. Porodica mu se 1830. godine preselila u Zemun, gde je Branko završio pet razreda srpske (1830—1832) i nemačke (1832—1835) osnovne škole. U gimnaziju u Sremskim Karlovcima se upisao 1836. godine. Sremski Karlovci i obližnje Stražilovo su imali velik uticaj na Brankova kasnija dela, od kojih su najpoznatija „Đački rastanak“, u kojoj izražava svoju želju da tu bude i sahranjen. Nakon završenih šest razreda u Sremskim Karlovcima, sedmi i osmi razred je završio u Temišvaru, gde mu je otac bio premešten 1841. godine. U Temišvaru mu je preminuo brat Stevan. Godine 1843. je upisao studije prava u Beču, ali nakon tri godine studija odustaje od fakulteta. Staro prijateljstvo porodice Radičević sa Vukom Karadžićem bila je Branku najbolja preporuka za stupanje u krug Vukovih saradnika i prijatelja. Kada mu je preminuo brat Stevan, Branko se zbratimio sa drugim mladim Vukovim sledbenikom Đurom Daničićem. Branko Radičević je bio sledbenik ideja Vuka Karadžića. Svoju zbirku pod nazivom „Pesme“ napisao je na narodnom jeziku. Branko Radičević je bio vesele naravi i pisao je najpre ljubavne i rodoljubive pesme. Kada se razboleo, počeo je da piše tužne pesme (elegija). Prve stihove Branko je napisao još dok je pohađao Karlovačku gimnaziju, a oduševljen Vukovim reformama se intezivnije počeo baviti književnim radom. Prvu knjigu pesama je objavio u Beču 1847. godine, na čistom narodnom jeziku u duhu modernog evropskog romantičarskog pesništva. Iste godine su objavljeni i Vukov prevod Novog zaveta, Daničićev „Rat za srpski jezik i pravopis“ i Njegošev „Gorski vijenac“, tako da se ta godina smatra godinom nezvanične Vukove pobede. Zbog revolucije koja je zahvatila Habzburšku monarhiju, Radičević je napustio Beč i živeo je po raznim mestima u Sremu. Slava koju su mu donele prve pesme bila je velika i u Kneževini Srbiji, u koju je nekoliko puta dolazio. U strahu da njegovo prisustvo ne izazove nemire među velikoškolskom omladinom, vlasti su ga proterale iz Beograda. U to vreme je počeo da oboljeva od tuberkuloze. Vrativši se u Beč 1849. godine upisao je studije medicine, pokušavajući da nađe sebi leka, ali je nastavio da se bavi književnošću i godine 1851. je objavio još jednu zbirku pesama. Po savremeniku Aci Popoviću Zubu, Branko je bio: lepuškast, okretan, prijatan, čist. Nije pio, nije bekrijao. On te vrste demokratije nije trpeo. Radičević je umro od tuberkuloze 1. jula 1853. godine u bečkoj bolnici, navodno na rukama Vukove žene Ane. Savremenik Lazar Zaharijević je to u svojim uspomenama negirao; Branko je umro sam tokom noći. Imao je 29 godina, opojan je u grčkoj crkvi a sahranjen je bečkom groblju Sv. Marka. Posthumno zbirku pesama je objavio njegov otac 1862. godine.

427 Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! Prisutno 119 od 300 Veliki Blek (ital. Il Grande Blek), poznat i kao Blek Stena (Blek Macigno), je strip junak koga je stvorio crtački trio poznat pod pseudonimom EsseGesse, u izdanju izdavačke kuće Dardo. Podaci o strip junaku Veliki Blek je visoki plavokosi, mišićavi traper koji živi i deluje u vreme američkog Rata za nezavisnost. Njegovu odeću čini prsluk od medveđeg krzna, crvene pantalone, čizme sa resicama i dabrova kapa. Njegovi najbliži prijatelji su dečak-traper Rodi (Roddy Lassiter) i Profesor Okultis (Professor Occultis). Najveći neprijatelji su mu engleski vojnici (popularno zvani Crveni mundiri). Blek je po nacionalnosti Francuz i pravo mu je ime Janik Lerok (Yannick Leroc). Rođen je 27. novembra 1749. godine. Otac mu je bio kraljevski kartograf u Sent Malou. Kako je Janik u mladosti često pravio probleme, otac ga je zaposlio kod ribara Kernana gde je naučio da plovi. Tokom oluje brod je potonuo ali je Janik uspeo da spase kapetana. Zbog tuče u krčmi bio je osuđen na šest meseci zatvora ali mu je zbog sitnih neposluha kazna stalno povećavana, tako da je u zatvoru ostao do svoje osamnaeste godine. Uspeo je da pobegne i zbog toga je osuđen na smrt ukoliko bude uhvaćen. U međuvremenu mu je umrla majka. Da bi se spasao kazne, dobrovoljno je pristupio posadi broda Rorkval (Rorqual), pod kapetanom zvanim Crno Oko koji je od francuskih vlasti dobio ovlašćenje za gusarenje protiv Engleza. Međutim, Crnom Oku je to služilo samo kao pokriće za piratske aktivnosti u sopstvenu korist. Napadao je robovlasničke brodove i njihove robove prodavao za svoju novčanu dobit, pljačkao nezaštićene plantaže i opskrbljivao oružjem britansku mornaricu. U dvoboju sa Janikom, Crno Oko je završio u moru gde su ga ubili morski psi. Janik je postao novi Rorkvalov kapetan i započeo s borbom protiv trgovaca robljem, pirata i britanskih ratnih i gusarskih brodova. Postao je poznat i Englezi su ga prozvali Veliki Blek — Crni Gusar. Nakon mnogih uspeha na moru pozvan je u Versaj gdje je predstavljen francuskom kralju Luju XVI koji ga je proglasio plemićem. Janik je ušao u društvo francuskih filozofa i prosvetitelja i u jednom dvoboju osramotio visokog plemića koji je branio nepravedni sistem u Francuskoj. Zbog toga je proglašena poternica za Janikom, ali on se vratio u rodni grad i sa ocem otplovio u potragu za severozapadnim prolazom. Nedaleko od Grenlanda brod je udario u greben i potonuo a Janik je bio jedini preživeli. Sagradio je splav i otplovio do Labradora gde su se pridružio plemenu Eskima koji su mu na rastanku čak poklonili jednu ženu. Janik je zaplovio južnije gde su ga zarobili Indijanci. Ipak, dopustili su mu da se pridruži plemenu, a poglavica ga je čak i usvojio. Indijanci su Janika prozvali Blek što na njihovom jeziku znači Zlatna kosa. Kada su britanski vojnici napali njegovo selo i ubili mnoge stanovnike, Blek je postao poglavica i poveo svoje ratnike u napad na britansku tvrđavu koju su osvojili i uništili. Tamo je pronašao ženu i ćerku advokata Konolija (Connoly), vođe grupe trapera koji su pružali otpor tiraniji britanskih vlasti u Severnoj Americi. Blek je napustio Indijance te vratio Konoliju ženu i ćerku. Nakon toga postao je vođa trapera. Napomena: Podaci iz Blekove biografije opisani su u stripu Priča o Velikom Bleku (na srpskom prvi put objavljen u LMS br. 358). Podaci o autorima Tvorci stripa (scenaristi i crtači) bili su torinski trio Đovani Sinketo (Giovanni Sinchetto), Dario Gucon (Dario Guzzon) i Pjetro Sartoris (Pietro Sartoris) koji su se skrivali iza pseudonima EsseGesse. Veliki Blek u bivšoj Jugoslaviji Prva epizoda Velikog Bleka izašla je u Italiji 1954. godine. U bivšoj Jugoslaviji su se delovi ove epizode pojavili već 1957. godine u slovenačkom dnevniku Primorska reka na slovenačkom jeziku. (Dnevnik je osnovan 1945. godine.) Blek se na slovenačkom zvao Silni Tom. Nije poznato koliko je dugo izlazio i da li su epizode bile redovne. Redovno pojavljivanje počelo je u decembru 1974. na srpsko-hrvatskom jeziku u ediciji Lunov magnus strip[1] #128 pod nazivom Veliki Blek. YU Blek мини|200п|Korice albuma sa samolepljivim sličicama Blek Izdavačka kuća Dnevnik iz Novog Sada je svojevremeno otkupila prava za kreiranje stripova o Velikom Bleku. Stripovi na kojima su radili crtači iz bivše Jugoslavije izlazili su u Lunovom Magnus Stripu i Strip Zabavniku i imali su solidan uspeh.[2] Ove epizode su među ljubiteljima stripa poznate kao YU Blek.[3] Scenaristi su bili (po azbučnom redosledu): Petar Aladžić, Predrag Ivanović, Miodrag Milanović , Ivica Mitrović i Svetozar Obradović. Crtači su bili (azbučno): Stevan Brajdić, Milorad Žarić, Miodrag Ivanović, Predrag Ivanović, D. Ivković, Branislav Kerac, Bojan Kerzan, Pavel Koza, Vladimir Krstić, Spasoje Kulauzov, Marinko Lebović, B. Ljubičić, Stevo Maslek, Nikola Maslovara, Radič Mijatović, Željko Mitrović, Ahmet Muminović, Slavko Pejak, Dušan Pivac, Branko Plavšić, Zdravko Popović, Sibin Slavković (pseudonim: „S. Žunjević“), Ljubomir Filipov i Adam Čurdinjaković. Dnevnik je pored stripova objavio i album sa samolepljivim sličicama.

Lobby card za film `Heavy metal`, rad cuvenog crtaca Ricarda Korbena (Den, Svet mutanata itd), a za pricu `Den`. . Distribucija `Centar film`, Beograd. 23x17 cm. Nije u pitanju nikakva naknadna stampa, tj, replika, vec originalna kartica. RETKO! Ricard Korben Heavy Metal is a 1981 Canadian adult animated science fantasy anthology film directed by Gerald Potterton and produced by Ivan Reitman and Leonard Mogel, who also was the publisher of Heavy Metal magazine, which was the basis for the film. It starred the voices of Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Percy Rodriguez, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, and Zal Yanovsky. The screenplay was written by Daniel Goldberg and Len Blum. The film is an anthology of various science fiction and fantasy stories tied together by a single theme of an evil force that is `the sum of all evils`. It was adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film features a great deal of graphic violence, sexuality, and nudity. Its production was expedited by having several animation houses working simultaneously on different segments. Upon release, the film received mixed reviews from critics, with praise towards the animation, visuals, Elmer Bernstein`s score and voice acting, but criticism towards its story and overuse of graphic violence. The film however was a modest success at the box office and has since achieved cult status. The film`s influential soundtrack was packaged by music manager Irving Azoff and included several popular rock bands and artists, including Black Sabbath, Blue Öyster Cult, Sammy Hagar, Don Felder, Cheap Trick, DEVO, Journey, and Nazareth, among others.[2] A sequel titled Heavy Metal 2000 (2000) was released in 2000 and received negative reviews.[citation needed] Plot `Soft Landing` The title sequence was based on the comic of the same name by Dan O`Bannon and Thomas Warkentin.[citation needed] The title sequence story opens with a Space Shuttle orbiting the Earth. The bay doors open, releasing a 1960 Corvette. An astronaut seated in the car then begins descending through Earth`s atmosphere, landing in a desert canyon. Crew Jimmy T. Murakami and John Bruno – directors John Coates – producer Dan O`Bannon – writer Thomas Warkentin – art direction Music `Radar Rider` by Riggs Studio MGM Titles T.V. Cartoons Ltd `Grimaldi` In the framing story, the astronaut Grimaldi arrives at home where he is greeted by his daughter. He says he has something to show her. When he opens his case, a green, crystalline sphere rises out and melts him. It introduces itself to the terrified girl as `the sum of all evils`. Looking into the orb known as the Loc-Nar, the girl sees how it has influenced societies throughout time and space. Cast Percy Rodriguez (uncredited) as Loc-Nar Don Francks as Grimaldi Caroline Semple as Girl Crew Harold Whitaker – director John Halas – producer Studio Halas & Batchelor Animation Ltd `Harry Canyon` Original story by Daniel Goldberg and Len Blum; based on The Long Tomorrow by Moebius. In a dystopian and crime-ridden New York City in 2031, cynical taxicab driver Harry Canyon narrates his day in film noir style, grumbling about his fares and frequent robbery attempts he thwarts with a disintegrator installed in the back of his seat. He stumbles into an incident where he rescues a red haired young woman from Rudnick, a gangster who murdered her father. She explains that her father discovered the Loc-Nar, and they have been pursued relentlessly by people attempting to obtain it. Harry takes her to his apartment, where they have sex. She decides to sell the Loc-Nar to Rudnick and split the money with Harry. Rudnick is disintegrated by the Loc-Nar at the exchange, and she attempts to double-cross Harry to keep the money for herself. When she pulls out a gun, Harry uses the disintegrator on her. He keeps the money, and summarizes the incident as a `two-day ride with one hell of a tip`. Cast Percy Rodriguez (uncredited) as Loc-Nar Harvey Atkin as Alien, Henchman John Candy as Desk Sergeant Marilyn Lightstone as Whore Susan Roman as Girl, Satellite Richard Romanus as Harry Canyon Al Waxman as Rudnick Crew Pino van Lamsweerde – director W. H. Stevens Jr. – producer Vic Atkinson – producer Daniel Goldberg – writer Len Blum – writer Music `Veteran of the Psychic Wars` by Blue Öyster Cult `True Companion` by Donald Fagen `Blue Lamp` by Stevie Nicks `Open Arms` by Journey `Heartbeat` by Riggs Studio Atkinson Film Arts `Den` Based on the character of the same name created by Richard Corben. A nerdy teenager finds a `green meteorite` near his house and adds it to his rock collection. During a lightning experiment, the orb hurls the young man into the world of Neverwhere, where he transforms into a naked, muscular man called Den, an acronym for his earth name, David Ellis Norman. There, Den witnesses a strange ritual, rescuing a beautiful young woman who is about to be sacrificed to Uhluhtc. Reaching safety, she introduces herself as Katherine Wells from the British colony of Gibraltar. The two start having sex, but are interrupted by the minions of Ard, an immortal man who wants to obtain the Loc-Nar for himself. After being taken to see Ard, Den demands to see Katherine. His request is ignored and Ard orders his men to castrate Den. Den fights off the soldiers and shoots Ard, who is immortal and heals immediately. The girl turns out to be sleeping, encased in glass under a spell where only Ard can awaken her. Ard offers Den a deal: if he gets the Loc-Nar from the Queen and brings it to him, the girl will be released. Den agrees and infiltrates the palace along with Ard`s best soldier, Norl. They are promptly caught by the Queen`s guards, but she offers leniency if Den has sex with her. He complies, thereby distracting the Queen while the raiding party steals the Loc-Nar. Den escapes and races back to rescue Katherine from Ard. Recreating the lightning incident that drew him to Neverwhere, he is able to banish Ard and the Queen. Den suspects that they were teleported to Earth. Refusing the opportunity to take the Loc-Nar for himself, Den rides with Katherine into the sunset, content to remain in Neverwhere. As for the Loc-Nar, it rises into the sky and lands on a space station where it is picked up by someone else. Cast Percy Rodriguez (uncredited) as Loc-Nar John Candy as Den Jackie Burroughs as Katherine Wells Martin Lavut as Ard Marilyn Lightstone as Queen August Schellenberg as Norl Crew Jack Stokes – director Jerry Hibbert – producer Richard Corben – writer Studio Votetone `Captain Sternn` Based on the character of the same name created by Bernie Wrightson. On a space station, crooked space captain Lincoln F. Sternn is on trial for numerous serious charges presented by the prosecutor consisting of 12 counts of murder in the first degree, 14 counts of armed theft of Federation property, 22 counts of piracy in high space, 18 counts of fraud, 37 counts of rape — and one moving violation. Pleading `not guilty` against the advice of his lawyer Charlie, Sternn explains that he expects to be acquitted because he bribed a witness named Hanover Fiste. Fiste takes the stand upon being called to by the prosecutor, but his perjury is subverted when the Loc-Nar, now the size of a marble, causes him to blurt out highly incriminating statements about Sternn (though whether or not any of them are true is unknown) before changing him into a hulking muscular brute that chases Sternn throughout the station, breaking through bulkheads and wreaking havoc. Eventually, he corners Sternn, who gives him his promised payoff, and he promptly shrinks back to his scrawny original form. Sternn opens a trap door under Fiste, ejecting him into space. The Loc-Nar enters Earth`s atmosphere with Fiste`s flaming severed hand still clinging to it. Cast Percy Rodriguez (uncredited) as Loc-Nar Rodger Bumpass as Hanover Fiste Joe Flaherty as Charlie, the lawyer Douglas Kenney as Regolian Eugene Levy as Captain Lincoln F. Sternn John Vernon as Prosecutor Crew Julian Harris – director Paul Sebella – director Bernie Wrightson – writer Music `Reach Out` by Cheap Trick Studio Boxcar Animation Studios Inc `Neverwhere Land` Because of time constraints, a segment called `Neverwhere Land`, which would have connected `Captain Sternn` to `B-17`, was cut. The story follows the influence of the Loc-Nar upon the evolution of a planet, from the Loc-Nar landing in a body of water, influencing the rise of the industrial age, and a world war. This original story was created by Cornelius Cole III. The original rough animatics are set to a loop of the beginning of Pink Floyd`s `Time`. The 1996 VHS release included this segment at the end of the tape. On the DVD release, this segment is included as a bonus feature. In both released versions, the sequence is set to the music of `Passacaglia` (from Magnificat), composed and conducted by Krzysztof Penderecki and with animation studio being produced by Duck Soup Produckions. `B-17` A World War II B-17 bomber nicknamed the Pacific Pearl makes a difficult bombing run and suffers heavy damage with all of the crew except the pilot and co-pilot killed by gunfire. As the bomber limps home, the co-pilot goes back to check on the crew. Finding nothing but dead bodies, he notices the Loc-Nar trailing the plane. Informing the pilot, he heads back to the cockpit, when the Loc-Nar rams itself into the plane and reanimates the dead crew members as zombies. The co-pilot is killed, while the pilot parachutes away in time. He lands on an island where he finds a graveyard of airplanes from various times, along with the wrecked airplanes` zombified airmen, who surround him, sealing the horrified pilot`s fate. Cast Percy Rodriguez (uncredited) as Loc-Nar Don Francks as Co-Pilot (Holden) George Touliatos as Pilot (Skip) Zal Yanovsky as Navigator Crew Barrie Nelson – director W. H. Stevens Jr. – producer Dan O`Bannon – writer Music `Heavy Metal (Takin` a Ride)` by Don Felder Studio Atkinson Film-Arts `So Beautiful & So Dangerous` Based on the comic of the same name by Angus McKie. Dr. Anrak, a prominent scientist, arrives at The Pentagon for a meeting regarding mysterious mutations that are plaguing the United States. At the meeting, the doctor tries to dismiss the occurrences. When he sees the Loc-Nar in the locket of Gloria, a beautiful buxom stenographer, he begins to behave erratically and motorboats her. A colossal starship drills through the roof and abducts the doctor and, by accident, Gloria. The ship`s robot is irritated at Anrak, who is actually a malfunctioning android, but its mood changes when it sees Gloria. With the help of the ship`s alien pilot Edsel and co-pilot Zeke, the robot convinces Gloria to stay on board and have `robot sex` (albeit off-screen). Meanwhile, Edsel and Zeke snort a huge amount of a powdered drug called Plutonian Nyborg before flying home, zoning out on the cosmos. Too intoxicated to fly straight, they crash-land unharmed in a huge space station. Cast Percy Rodriguez (uncredited) as Loc-Nar Rodger Bumpass as Dr. Anrak John Candy as Robot Joe Flaherty as General Eugene Levy as Male Reporter / Edsel Alice Playten as Gloria Harold Ramis as Zeke Patty Dworkin as Female Reporter Warren Munson as Senator Crew John Halas – director Angus McKie – writer Music `Queen Bee` by Grand Funk Railroad `I Must Be Dreamin`` by Cheap Trick `Crazy? (A Suitable Case for Treatment)` by Nazareth `All of You` by Don Felder `Prefabricated` by Trust `Heavy Metal` by Sammy Hagar Studio Halas & Batchelor Animation Ltd `Taarna` Original story by Daniel Goldberg and Len Blum; based on Arzach by Moebius. The Loc-Nar, now the size of a giant meteor, crashes into a volcano on another world and draws a large mass of curious people. As they begin to climb the volcano, it erupts and green slime covers the crowd, mutating them into an evil barbarian army. The mutants subsequently attack a nearby city of peaceful scholars. Desperate, the city leaders mentally summon the Taarakians, a once powerful yet now declining warrior race with whom the city had a pact, but the city falls before the call can be answered. Taarna, a beautiful yet mute warrior and the last of the Taarakians, receives the summons. After ritually preparing herself, she and her avian mount fly to the beleaguered city, only to find the citizens dead. Determined to avenge them, she begins following the trail of their murderers and encounters a small band of the mutant barbarians. After killing them and with more information at hand, she travels towards the mutant camp, but she and her mount are captured. Taarna is tortured and thrown into an open pit, unconscious. Her mount escapes and rescues her. She tries going for the Loc-Nar, but the mutants pursue and shoot her mount down. The mutant leader faces Taarna in a duel to the death, wounding her, but Taarna manages to kill him. With the last of their strength, Taarna and her companion make a death flight to the volcano. As they approach, the Loc-Nar warns her off, claiming that sacrificing herself would be futile. Ignoring the Loc-Nar, Taarna unleashes the power imbued in her sword and dives into the volcano, destroying the Loc-Nar. Cast Percy Rodriguez (uncredited) as Loc-Nar Thor Bishopric as Boy Ned Conlon as Councilman #1 Len Doncheff as Barbarian #1 Don Francks as Barbarian #2 Joseph Golland as Councilman #2 Charles Joliffe as Councilman #3 Mavor Moore as Elder August Schellenberg as Taarak Cedric Smith as Bartender George Touliatos as Barbarian #3 Vlasta Vrána as Barbarian Leader Zal Yanovsky as Barbarian #4 Music `E5150` by Black Sabbath `The Mob Rules` by Black Sabbath `Through Being Cool` by Devo `Epilogue` As the final story ends, the Loc-Nar that was terrorizing the girl destabilizes and begins breaking up. The girl flees it and her home. The Loc-Nar then explodes, destroying the mansion in the process. Taarna`s reborn mount appears outside and the girl happily flies away on it. It is then revealed that Taarna`s soul has been reincarnated in the girl, transforming her into a new Taarakian. Cast Percy Rodriguez (uncredited) as Loc-Nar Music `Working in the Coal Mine` by Devo Production Ivan Reitman gained a deal with Columbia Pictures to create an animated film and asked Gerald Potterton to oversee it.[5] The initial script had Arzach as the framing device for the film, but the script was thrown out after Jean Giraud refused to allow the usage of his characters. Len Blum and Daniel Goldberg created Taarna and a green orb instead.[6] Chris Achilléos did the character design for Taarna.[7] Michael Mills was hired to create the opening and closing segments, but script rewrites had the sequences redrawn multiple times. Reitman, displeased with the high expenses, withheld payment. Mills sued and the case was settled out of court. Reitman hired Jimmy T. Murakami to create a new opening.[6] Atkinson Film-Arts animated Harry Canyon, directed by Pino van Lamsweerde, and the B-17 segment by Barrie Nelson. Captain Sternn was animated by Boxcar films under the direction of Paul Szuchopa and Julian Harris. Halas and Batchelor and TVC animated the other segments. Taarna was created in Montreal by 11 designers, 30 animators, and 54 assistants under the direction of John Bruno. José Abel, Danny Antonucci, and Zdenko Gašparović worked on Taarna.[8] Animator Robert Balser directed the animation of the `Den` sequence for the film.[9] The film uses the rotoscoping technique of animation in several shots. This process consists of shooting models and actors, then tracing the shot onto film.[10] Release The film was released on August 7, 1981. It was a financial success, grossing over $20 million on a $9 million budget (equivalent to a gross of $64 million in 2022).[3] Reception The film was met with mixed response. Review aggregator Rotten Tomatoes reports that 66% of critics have given the film a positive review based on 35 reviews, with an average rating of 5.8/10 and the critical consensus: `It`s sexist, juvenile, and dated, but Heavy Metal makes up for its flaws with eye-popping animation and a classic, smartly-used soundtrack.`[11] Janet Maslin of The New York Times wrote that `for anyone who doesn`t think an hour and a half is a long time to spend with a comic book, Heavy Metal is impressive,` and noted that the film `was scored very well, with music much less ear-splitting than the title would suggest.`[12] Variety declared, `Initial segments have a boisterous blend of dynamic graphics, intriguing plot premises and sly wit that unfortunately slide gradually downhill ... Still, the net effect is an overridingly positive one and will likely find its way into upbeat word-of-mouth.`[13] Gene Siskel of the Chicago Tribune gave the film three stars, writing that it `isn`t intended for close scrutiny on a literal level. The film clearly is intended as a trip, and on that level it works very nicely.` He criticized the film as `blatantly sexist` and for having `wildly romanticized` violence.[14] Sheila Benson of the Los Angeles Times wrote, `Somehow a great deal of the charm [of the magazine] leaked out on the way to the movie house, but all of the sadism stayed put. And then some. It`s the most expensive adolescent fantasy revenge fulfillment wet dream ever to slither onto a screen.`[15] John Pym of The Monthly Film Bulletin found that it was `to put it mildly, something of a hodge-podge.`[16] Film historian and critic Leonard Maltin gave the film 3 stars out of 4 in his Movie Guide, calling the feature `... uneven, but great fun on a mindless, adolescent level.`[17] On the whole, in terms of individual segments, critics were typically most favorable towards the `Den` story.[18] Critic Janet Maslin gave the film a positive review in The New York Times. She said, `The other highly memorable story is about a bookworm from earth who winds up on another planet, where his spindly body is transformed into that of an extraterrestrial Hercules.` She also complimented John Candy`s vocal performance as Den.[19] Christopher John reviewed Heavy Metal in Ares Magazine #11 and commented that `Sadly, what could have been a true boost for animation in this country[20] is a weak, opportunistic failure, put together with very little care and no love at all.`[21] Home media Heavy Metal aired frequently on HBO throughout the 1980s and 90s.[citation needed] Prior to official release on VHS and LaserDisc in 1996, the film was re-released to 54 theatres on March 8, 1996, remixed in Sony`s 8-track SDDS audio system, taking in US$550,000 (equivalent to $1,026,247 in 2022).[4] The subsequent home video release, the first animated film issued on the VHS format to be THX-certified, moved over one million units.[22] The film was released on Blu-ray Disc on February 1, 2011 as a Best Buy exclusive and it was later released everywhere on June 14, 2011.[23] A remastered 4K version was released on Ultra HD Blu-ray on April 19, 2022, bundled with a Blu-ray Disc release of the sequel, Heavy Metal 2000 (2000).[24] Music Soundtrack This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message) Heavy Metal: Music from the Motion Picture Soundtrack album by various artists Released July 1981 Genre Heavy metal[25] hard rock[25] Label Full Moon/Asylum/Epic Heavy Metal film soundtracks chronology Heavy Metal: Music from the Motion Picture (1981) Heavy Metal 2000 OST (2000) Singles from Heavy Metal: Music from the Motion Picture `True Companion` / `All of You` Released: 1981 Professional ratingsReview scores Source Rating AllMusic [25] The soundtrack was released on LP in 1981, but for legal reasons, was not released on CD until 1995. The album peaked at number 12 on the Billboard 200 chart. The film`s theme song, `Heavy Metal (Takin` a Ride)` was sung by Don Felder. It was released as a single in the U.S. and reached number 43 on the Billboard Hot 100[26] and number five on the Mainstream Rock chart on September 19, 1981.[27] Blue Öyster Cult wrote and recorded a song called `Vengeance (The Pact)` for the film, but the producers declined to use the song because the lyrics provided a capsulized summary of the `Taarna` vignette. `Veteran of the Psychic Wars` was used instead. Both songs can be found on Blue Öyster Cult`s album Fire of Unknown Origin. Although used in the film, the songs `Through Being Cool` by Devo and `E5150` by Black Sabbath were not included in the released soundtrack album. These songs are on New Traditionalists and Mob Rules, respectively. The legal difficulties surrounding the use of some songs in the film delayed its release to home media. The production company`s use of some songs was limited solely to the theatrical release and soundtrack and did not include home media releases. It was not until 1996 that there was an official home media release on VHS when Kevin Eastman, who had bought the publishing rights of Heavy Metal magazine in 1992 and previously contributed to the magazine, reached a settlement with the music copyright holders.[28] The original LP contained four tracks per side and was programmed in stackable order (A, D, B, C). Rhino Records reissued the two-LP collection in 2017, programmed in standard order (A, B, C, D), as part of their `Rocktober` collection.[29] No. Title Artist Length 1. `Heavy Metal` (original version) Sammy Hagar 3:50 2. `Heartbeat` Riggs 4:20 3. `Working in the Coal Mine` Devo 2:48 4. `Veteran of the Psychic Wars` Blue Öyster Cult 4:48 5. `Reach Out` Cheap Trick 3:35 6. `Heavy Metal (Takin` a Ride)` Don Felder 5:00 7. `True Companion` Donald Fagen 5:02 8. `Crazy (A Suitable Case for Treatment)` Nazareth 3:24 9. `Radar Rider` Riggs 2:40 10. `Open Arms` Journey 3:20 11. `Queen Bee` Grand Funk Railroad 3:11 12. `I Must Be Dreamin`` Cheap Trick 5:37 13. `The Mob Rules` (alternate version) Black Sabbath 3:16 14. `All of You` Don Felder 4:18 15. `Prefabricated` Trust 2:59 16. `Blue Lamp` Stevie Nicks 3:48 Charts Chart (1981–1982) Peak position US Billboard 200[30] 12 Certifications Region Certification Certified units/sales Canada (Music Canada)[31] Platinum 100,000^ United States (RIAA)[32] Platinum 1,000,000^ ^ Shipments figures based on certification alone. Score Unusual for the time, an LP recording of Elmer Bernstein`s score was released alongside the soundtrack in 1981, and it featured the composer`s first use of the ondes Martenot, an instrument which became a trademark of Bernstein`s later career. On March 13, 2008, Film Score Monthly released an official, expanded CD release of Bernstein`s score, which he conducted.[33] The score was performed by the Royal Philharmonic Orchestra with the London Voices and Jeanne Loriod on the ondes Martenot. Original track listing: `Den and the Green Ball` (03:17) `Den Makes It` (02:49) `Den and the Queen` (02:56) `Den`s Heroics` (02:52) `Bomber and the Green Ball` (04:41) `Space Love` (01:32) `Harry and the Girl` (03:45) `Tarna Summoned` (sic) (02:50) `Flight` (02:20) `Tarna Prepares` (sic) (03:35) `Barbarians` (03:37) `Tarna Forever` (sic) (03:37) Re-release track listing: `Beginning` 1:16 `Intro to Green Ball` 1:18 `Discovery/Transformation (Den and the Green Ball)` 3:15 `Den Makes Out (Den Makes It)` 2:42 `Castrate Him/Searching for the Loc-Nar` 2:04 `Queen for a Day (Den and the Queen)` 2:54 `Pursuit (Den’s Heroics)` 2:51 `Fiste` 1:27 `Getting Bombed` 3:06 `Green Ball` 2:15 `Dem Bones` 2:44 `No Alarm` 0:58 `Robot Love (Space Love)` 1:32 `Harry` 1:35 `The Next Morning` 1:56 `End of Baby` 2:43 `Council (Taarna Summoned)` 2:49 `The Flight to Temple (Flight)` 2:16 `The Sword (Taarna Prepares)` 3:32 `Flight to Holiday Town` 2:20 `Fighting` 2:43 `My Whips!/Taarna Escapes Pit` 4:57 `Finish (Taarna Forever)` 3:34 Bonus tracks `Den Makes Out` (film version) 2:49 `Bomber and the Green Ball` (album edit) 4:35 `Harry and the Girl` (album edit) 3:41 `Barbarians` (album edit) 3:34 Sequel The sequel, titled Heavy Metal 2000, was released in 2000. Upon its release, Heavy Metal 2000 received negative reviews from critics and has fallen into obscurity. Legacy and cultural impact Several years after the film`s release, Heavy Metal managed to achieve a strong cult following mainly through midnight screenings, TV showings, and home video releases.[citation needed] The film served as inspiration for many animation and science fiction films and shows following it such as Blade Runner (1982), Starchaser: The Legend of Orin (1985), Gandahar (1987), Akira (1988), The Fifth Element (1997), Titan A.E. (2000), Sausage Party (2016), Mandy (2018), The Spine of Night (2021), Futurama, and Rick & Morty.[citation needed] The film was parodied in a season 12 episode of the adult animated comedy series South Park entitled `Major Boobage` (2008; S12E03), which also featured songs from the film`s soundtrack.[citation needed] Some news reports have suggested that Heavy Metal was an influence for Elon Musk when he launched a Tesla Roadster alongside a fake spaceman in the front seat into orbit in 2018, which seems to reference the film`s title sequence `Soft Landing`, in which a space traveler lands on Earth in a Chevrolet Corvette convertible two-seater.[34][35] Both Heavy Metal and the British animated film Watership Down (1978) served as strong influences on the animation and anthology styles of the music video At the Door by The Strokes.[36] Remake In March 2008, Variety reported that Paramount Pictures was set to make another animated film with David Fincher `spearheading the project`. Kevin Eastman, who is the current owner and publisher of Heavy Metal, would direct a segment, as would Tim Miller, `whose Blur Studio will handle the animation for what is being conceived as an R-rated, adult-themed feature`.[37] Entertainment website IGN announced, on July 14, 2008, `David Fincher`s edgy new project has suffered a serious setback after it was dropped by Paramount, according to Entertainment Weekly.`[38] Entertainment Weekly quoted Tim Miller as saying `David really believes in the project. It`s just a matter of time.`[39] In September 2008, Eastman was quoted as saying `Fincher is directing one, Guillermo del Toro wants to direct one, Zack Snyder wants to direct one, Gore Verbinski wants to direct one`. It was reported that the film had been moved to Sony division Columbia Pictures (which had released the original) and had a budget of $50 million.[40] In June 2009, Eastman said `I`ve got breaking news that Fincher and James Cameron are going to be co-executive producers on the film, Cameron will direct one.[41] Mark Osborne and Jack Black from Tenacious D were going to do a comedy segment for the film.`[42] Production is stalled indefinitely, as no film distributor or production company has shown interest in distributing or producing the remake since Paramount Pictures decided to forgo being the film`s distributor,[43] who purportedly thought such a film was `too risqué for mainstream audiences`.[39] In July 2011, filmmaker Robert Rodriguez announced at the Comic-Con that he had purchased the film rights to Heavy Metal and planned to develop a new animated film at the new Quick Draw Studios.[44] On March 11, 2014, with the formation of his very own television network, El Rey, Rodriguez considered switching gears and bringing it to TV.[45] On March 15, 2019, the reboot was released on Netflix as a reimagining titled Love, Death & Robots.[46] Richard Corben (October 1, 1940 – December 2, 2020) was an American illustrator and comic book artist best known for his comics featured in Heavy Metal magazine, especially the Den series which was featured in the magazine`s first film adaptation in 1981. He was the winner of the 2009 Spectrum Grand Master Award[1] and the 2018 Grand Prix at Angoulême. In 2012 he was elected to the Will Eisner Award Hall of Fame. Biography Richard Corben was born on a farm[2] in Anderson, Missouri, and went on to get a Bachelor of Fine Arts degree from the Kansas City Art Institute, in 1965.[3] At the same time, he trained in bodybuilding, but eventually retired from the art with few accomplishments due to a lack of time to dedicate himself to it.[4] After working as a professional animator at Kansas City`s Calvin Productions, Corben started writing and illustrating for the underground comics, including Grim Wit, Slow Death, Skull, Rowlf, Fever Dreams and his own anthology Fantagor.[5] In 1970 he began illustrating horror and science-fiction stories for Warren Publishing.[6] His stories appeared in Creepy, Eerie, Vampirella, 1984 and Comix International. He also colored several episodes of Will Eisner`s Spirit. All the stories and covers he did for Creepy and Eerie have been reprinted by Dark Horse Books in a single volume: Creepy Presents Richard Corben.[7] The three stories he drew for Vampirella have been reprinted by Dynamite Entertainment in Vampirella Archives Vol. 5.[8] In 1975, when Moebius, Druillet, and Jean-Pierre Dionnet started publishing the magazine Métal Hurlant in France, Corben submitted some of his stories to them.[9] He continued his work for the franchise in America, where the magazine was called Heavy Metal. Also in 1975, a selection of his black-and-white underground comix stories was collected in hardcover as The Richard Corben Funnybook from Kansas City`s Nickelodeon Press. In 1976 he adapted a short Robert E. Howard story in an early graphic novel, Bloodstar.[10] Among the stories drawn for Heavy Metal he continued the saga of his most famous creation, Den, which had begun in the short film Neverwhere and a short story in the underground publication Grim Wit No. 2. The saga of Den is a fantasy series about the adventures of a young underweight nerd who travels to Neverwhere, a universe taking inspirational nods from Robert E. Howard`s Hyborian Age, Edgar Rice Burroughs`s Barsoom and H. P. Lovecraft`s horror dimensions. This story was adapted in a highly abridged form, in the animated film Heavy Metal, where Den was voiced by John Candy in a humorous interpretation of the character that Corben found excellent. Corben`s collaborations are varied, ranging from Rip in Time with Bruce Jones, to Harlan Ellison for Vic and Blood, to the Mutant World titles, Jeremy Brood, and The Arabian Nights with Jan Strnad. From 1986 to 1994 Corben operated his own publishing imprint, Fantagor Press. Among the titles Fantagor published were Den, Den Saga, Horror in the Dark, Rip in Time, and Son of Mutant World. Fantagor went out of business after the 1994 contraction of the comics industry.[11] [12] Due to the sexual nature of Corben`s art, it has been accused of being pornographic, a description he himself disagrees with, preferring to call his work `sensual` instead.[4] One notorious example was the interview he gave Heavy Metal editor Brad Balfour in 1981.[2][13][14] Corben was very dissatisfied with the interview. He felt it portrayed him as a `petty, childish, borderline psychotic oaf`. He wrote a letter in retort, which was published in the September 1981 issue.[15] Corben did the cover of Meat Loaf`s Bat Out of Hell, Jim Steinman`s Bad for Good and a movie poster (based on a layout compositional sketch by Neal Adams[16]) for the Brian De Palma film Phantom of the Paradise. In addition, he provided cover art for the VHS release of the low-budget horror film Spookies. In 2000, Corben collaborated with Brian Azzarello on five issues of Azzarello`s run on Hellblazer (146–150) which was collected in a trade called Hellblazer: Hard Time.[17] He also adapted the classic horror story The House on the Borderland by William Hope Hodgson for DC`s Vertigo imprint. In 2001, Azzarello and Corben teamed up to create Marvel`s Startling Stories: Banner (a four issue mini-series exploring Doc Samson`s relationship with Bruce Banner) and Marvel MAX`s Cage (a five issue mini-series starring Luke Cage). In June 2004, Corben joined with Garth Ennis to produce The Punisher: The End, a one-shot title for Marvel published under the MAX imprint as part of Marvel`s The End series. The story tells of The Punisher`s final days on an earth ravaged by nuclear holocaust. Ever the independent, Corben would work with rocker Rob Zombie and Steve Niles in 2005 on a project for IDW Publishing called Bigfoot. In 2007, Corben did a two issue run on Marvel Comics` surreal demon biker, Ghost Rider. At Marvel`s MAX imprint he has produced Haunt of Horror, a mini-series adapting classic works of horror to comics. The first mini-series, published in 2006, was based on the stories of Edgar Allan Poe[18] followed by a second series in 2008 adapting works by H. P. Lovecraft.[19] Between 2008 and 2009 he illustrated the flashback sequences in Conan of Cimmeria #1–7, collected as Conan Volume 7: Cimmeria. In 2009 he illustrated Starr the Slayer for Marvel`s MAX comics imprint. Since then Corben has done more work for Marvel, DC, IDW, and most notably Dark Horse, drawing the Eisner Award-winning Hellboy. In May 2020, Parallax Studio announced preproduction on the live-action animated film MEAD (originally titled To Meet the Faces You Meet) based on the comic book Fever Dreams illustrated by Corben and written by Jan Strnad.[20][21] The film stars Robert Picardo and Samuel Hunt and features the voices of Patton Oswalt and Patrick Warburton.[22] MEAD was premiered at the 2022 Cannes Film Festival on May 22, 2022, and will be released for streaming in North America on August 9, 2022.[23] Personal life Corben`s wife is named Madonna `Dona` (née Marchant). Corben was the special-effects/animation technician for her prize-winning film entry Siegfried Saves Metropolis in a contest sponsored by Famous Monsters of Filmland magazine in 1964 (see issues #34 and 35). They married soon afterward in 1965.[24] They had a daughter, Beth, who is a watercolor painter and often colored her father`s comics. Corben died on December 2, 2020, following heart surgery. He was 80 years old.[25] Awards Corben`s work in comics and animation has won him recognition, including the Shazam Award for Outstanding New Talent in 1971, and a Shazam Award for Superior Achievement by an Individual in 1973. Corben won a 1973 Goethe Award for `Favorite Fan Artist`. He also received a CINE Golden Eagle and President of Japan Cultural Society trophy in 1968 for his short film Neverwhere.[26] While working for the Warren anthologies, he received numerous Warren Awards: 1973 Best Artist/Writer and Special Award for `Excellence`, 1976 Best Art for `Within You, Without You` (Eerie #77) and Best Cover (also for Eerie #77), and 1978 Best Cover Artist.[1] In 2009 Corben won the `Best Finite Series/Limited Series` Eisner Award for Hellboy: The Crooked Man and in 2011 he won the `Best Single Issue (or One-Shot)` Eisner Award, for Hellboy: Double Feature of Evil. Finally, in 2012 he was elected to the Will Eisner Award Hall of Fame. In 2015, Corben was inducted into the Ghastly Awards Hall of Fame. His previous Ghastly Awards include Best Artist in 2013 and Best One-shot Comics for his Dark Horse Poe adaptations... Edgar Allan Poe`s The Conqueror Worm in 2012, Edgar Allan Poe: The Raven & The Red Death (2013) and Edgar Allan Poe`s Morella and the Murders in the Rue Morgue in 2014.[27] In January 2018 he won the prestigious Grand Prix at Angoulême and presidency of the 2019 festival.[28] Beginning concurrently with the 2019 festival in January, a 250-piece collection of his original artworks was put on display at the Musée d`Angoulême, the exhibit ending March 10, 2019.

str. 23 Petparačke priče (engl. Pulp Fiction) je američki neonoar kriminalistički film iz 1994. godine, u režiji Kventina Tarantina koji je i napisao film uz doprinos Rodžera Ejverija. Poznat je po nelinearnoj radnji, eklektičnom dijalogu, ironičnoj mešavini humora i nasilja i referenci iz drugih filmova i popularne kulture. Tematski je baziran na šund kriminalističkim romanima četrdesetih i pedesetih godina dvadesetog veka i prati život nekoliko individualaca čiji su životi umešani u kriminalno podzemlje Los Anđelesa. Glumačku postavu čine Brus Vilis, Džon Travolta, Semjuel L. Džekson, Uma Terman i Ving Rejms. Nominovan je za sedam Oskara, uključujući najbolji film; Tarantino i Ejveri su osvojili nagradu Oskar za najbolji originalni scenario. Na Filmskom festivalu u Kanu je nagrađen Zlatnom palmom. Veliki komercijalni uspeh revitalizovao je karijeru glavnog glumca, Džona Travolte, koji je bio nominovan za Oskara, kao i Samjuel L. Džekson i Uma Terman. Kritičari su film zbog njegove samorefleksije i nekonvencionalne strukture nazvali prvim primerom postomodernog filma. Petparačke priče poslužile su kao inspiracija za mnoge kasnije filmove koji su preuzeli određene elemente njegovog stila. Priroda njegove produkcije, marketinga i distribucije i naknadne profitabilnosti snažno su uticali na područje nezavisne kinematografije. Film je uvršten u Nacionalni filmski registar Kongresne biblioteke kao `kulturološki, istorijski ili estetski značajan`. Radnja filma nije ispričana hronološkim redosledom, a prati tri glavne međusobno povezane priče: Plaćeni ubica Vinsent Vega je protagonista prve priče, bokser Buč Kulidž je glavni junak druge, a Vinsentov partner Džuls Vinfild je glavni junak treće.[1] Film počinje sa „Pampkinom” i „Hani Bani” koji pljačkaju restoran, a radnja zatim prelazi na priče o Vinsentu, Džulsu i Buču. Na kraju se vraća tamo gde je i započeo, u restoran. Postoji ukupno sedam narativnih nizova; trima osnovnim pričama prethode naslovi: Prolog − Restoran (I) Uvod u „Vinsent Vega i žena Marselusa Volasa” „Vinsent Vega i žena Marselusa Volasa” Uvod u „Zlatni sat” (a−flešbek, b−sadašnjost) „Zlatni sat” „Situacija sa Boni” Epilog − Restoran (II) Kad bi se sedam sekvenci poređalo hronološki, išle bi sledećim redosledom: 4a, 2, 6, 1, 7, 4b, 5. Sekvence 1 i 7 i 2 i 6 se delimično preklapaju, pa su prikazane iz različitih pogleda. Narativni redosled, sa svim svojim zaobilaženjima, je zapravo kružan, budući da se poslednja scena preklapa sa prvom. Govoreći o filmu, Tarantino je izjavio: „Super stvar je ta da se lomljenjem linearne strukture, kad gledam film sa publikom, lomi i stanje publike. To je kao ono, `Moram da vidim ovo... Moram obratiti pažnju`. Gotovo možete osetiti kako se svi pomiču u svojim sedištima. Zapravo je zabavno gledati publiku kako na neki način lovi film.” „Pampkin” (Tim Rot) i „Hani Bani” (Amanda Plamer) doručkuju u restoranu. Odlučuju da ga opljačkaju, shvativši da bi mogli da izvuku novac ne samo iz blagajne, nego i od mušterija, kao što su to učinili tokom njihove poslednje pljačke. Nekoliko trenutaka kasnije počinje pljačka, scena nestaje i počinje uvodna špica. Dok Džuls Vinfild (Samjuel L. Džekson) vozi, Vinsent Vega (Džon Travolta), priča o svojim iskustvima u Evropi, iz koje se upravo vratio; o hašiš-baru u Amsterdamu, o francuskom Mekdonaldsu i njihovom burgeru sa sirom („Rojal sa sirom”). Dvojac odeven u odela je na putu da uzmu aktovku od Breta (Frenk Vejli), koji se ogrešio kod njihova šefa, gangstera Marselusa Volasa. Džuls govori Vinsentu kako je Marselus bacio nekoga sa četvrtog sprata jer je njegovoj ženi izmasirao stopala. Vinsent odvraća da ga je Marselus zamolio da prati njegovu suprugu dok je izvan grada. Nakon šaljivog, filozofskog podbadanja, vraćaju se svojim pravim ulogama i ubijaju Breta na dramatičan način nakon što Džuls izrecituje zlokobno „biblijsko” proročanstvo. U gotovo praznom koktel-baru, bokser Buč Kulidž (Brus Vilis) prihvata veliku sumu novca od Marselusa Volasa (Ving Rejms), dogovorivši se da će pasti u petoj rundi sledećeg meča. Buč i Vinsent kratko se susreću, dok Vinsent i Džuls - sada neobjašnjivo odeveni u majice i šorceve - dolaze u Marselusov klub kako bi dostavili aktovku. Sledećeg dana, Vinsent svraća kod Lensa (Erik Stolc) i Džodi (Rozana Arket) kako bi kupio malo heroina visokog kvaliteta. Nafiksavši se pre susreta sa Mijom Volas (Uma Terman), izvodi je napolje. Njih dvoje odlaze u dopadljivi restoran tematski uređen u stilu pedesetih u kojem su službenici prerušeni u pop ikone te decenije. Mija se priseća svog glumačkog iskustva u propaloj pilot epizodi TV serije „Foks Fors Fajv”. Nakon učešća u plesnom takmičenju, vraćaju se u kuću Volasovih sa trofejom. Dok Vinsent u kupatilu sam sebe uverava da se ne spetlja sa šefovom ženom, Mija pronalazi Vinsentov heroin u džepu negova sakoa. Zamenivši ga sa kokainom, ušmrče ga i predozira se. Vinsent je pronalazi i prestrašen odjuri u Lensovu kuću po pomoć. Tamo ubrizgava injekciju adrenalina u njeno srce, oživevši je. Pre nego što se par rastao, Mija i Vinsent se dogovaraju da ne govore Marselusu o incidentu, bojeći se onoga što bi mogao da im učini. Mladi Buč gleda televiziju, kada u sobu uđe vijetnamski veteran, kapetan Kuns (Kristofer Voken). Kuns objašnjava da mu je doneo zlatni sat, koji se prenosio generacijama među muškim članovima porodice Kulidž. Bučov otac je umro u logoru za ratne zarobljenike, a na njegovu posljednju želju Kuns je sakrio sat u svoj rektum i čuvao ga dve godine kako bi ga donio Buču. Zazvoni zvono, preplašivši odraslog Buča iz njegova sna. On je u bokserskoj opremi i vreme mu je za borbu za koju je plaćen da padne. Buč beži iz arene nakon pobede u borbi. Pobegavši taksijem, od svoje vozačice opsednute smrću, Esmeralde Viljalobos (Andžela Džouns) saznaje da je ubio svog protivnika. Buč je prevario Marselusa, opkladivši se na sebe na vrlo povoljan koeficijent. Sledećeg jutra u motelu, Buč otkriva je njegova devojka, Fabijen (Marija de Medeiros), zaboravila da spakuje njegov nezamenljivi sat. Vraća se u svoj stan kako bi ga pokupio, iako ga gotovo sigurno traže Marselusovi ljudi. Buč brzo pronalazi sat, ali misleći da je sam, zastaje kako bi ispekao tost. Tada na kuhinjskom stolu opaža automatski pištolj. Začuvši puštanje vode u toaletu, Buč uzima pištolj i ubija Vinsenta Vegu koji izlazi iz kupatila. Vozeći se iz stana, Buč slučajno naleće na Marselusa. Udara ga autom, ali sudara se sa drugim vozilom. Počinje potera peške, a dvojica muškaraca završavaju u zalagaonici. Buč podiže pištolj kako bi ubio Marselusa, ali tada ih vlasnik zalagaonice, Mejnard (Duan Vitaker), zarobljava puškom. Mejnard i njegov ortak, Zed (Piter Grin), odvode Marselusa u sobu pozadi i siluju ga, ostavljajući maskiranog čoveka da nadgleda Buča. Buč se oslobađa i ubija tog čoveka. Namerava da pobegne, ali ipak odlučuje da spasi Marselusa. Dok Zed siluje Marselusa, Buč katanom ubija Mejnarda. Marselus uzima Mejnardovu sačmaricu i pogađa Zeda u prepone. Govori Buču da su kvit, ako nikome ne spomene silovanje i zauvek napusti Los Anđeles. Buč pristaje i odlazi iz grada na Zedovom motoru sa Fabijen. Priča se vraća na Vinsenta i Džulsa u Bretovom stanu. Nakon što su ga ubili, drugi muškarac izlazi iz kupatila i počinje da divljački puca na njih, ali svaki metak ih promašuje, a zaprepašćeni Džuls i Vinsent ne uspevaju ni da uzvrate vatru. Džuls tvrdi da je to čudo i Božji signal njemu da se penzioniše kao plaćeni ubica, iako se Vinsent ne slaže. Odlaze sa jednim od Bretovih saradnika, Marvinom (Fil Lamar), njihovim doušnikom. Vinsent upita Marvina za mišljenje o „čudu” i slučajno ga upucava u glavu dok je neoprezno mahao pištoljem. Prisiljen da sklone svoj krvavi automobil sa ulice, Džuls poziva svog prijatelja Džimija (Kventin Tarantino). Džimijeva žena, Boni, ubrzo dolazi sa posla, a on je zabrinut da ih ne sretne. Na Džulsov zahtev, Marselus zatraži pomoć od Vinstona Vulfa (Harvi Kajtel). Vulf uzima stvari u svoje ruke, naređujući Džulsu i Vinsentu da očiste auto, sakriju telo u prtljažniku, reše se svoje krvave odeće i presvuku se u majice i šorceve koje im daje Džimi. Osim toga, plaća Džimiju za njegovu posteljinu koje će poslužiti da se sakriju krvava sedišta dok se voze do otpada gde radi Vulfova devojka, Rakel (Džulija Svini). Vuk i Rakel odlaze da doručkuju, a Džuls i Vinsent odlučuju da učine isto. Džuls i Vinsent doručkuju, a razgovor se vraća na Džulsovu odluku da se penzioniše. U kratkom preseku, vidimo „Pampkina” i „Hani Bani” malo pre nego što odlučuju da opljačkaju restoran, iz uvodne scene filma. Dok je Vinsent u toaletu, počinje pljačka. „Pampkin” zahteva sve dragocenosti, uključujući Džulsovu misterioznu aktovku. Džuls iznenađuje „Pampkina”, držeći ga na nišanu. „Hani Bani”, histerična, poteže pištolj na Džulsa. Vinsent izlazi iz toaleta sa pištoljem uperenim u nju. Nastaje Meksički obračun. Džuls objašnjava svoju ambivalentnost prema svom kriminalnom životu, a kao svoj prvi čin iskupljenja nagovara dvoje pljačkaša da odnesu novac koji su pokupili i odu, zaključivši mudro kako su pošteđeni, ostavivši aktovku koja će biti vraćena svom vlasniku. Film je osvojio ukupno 43 nagrade i 40 nominacija. Dobio je nagradu Oskar za najbolji scenario, 1995, a nominovan je za još šest oskara; između ostalih, Travolta je bio nominovan za najbolju mušku ulogu, Džekson i Terman za sporedne, a sam Tarantino za najboljeg režisera. Iste godine, film je osvojio nagradu Saturn za najbolji film Udruženja za SF, fantaziju i horor filmove u SAD, BAFTA nagrade za najbolji scenario i epizodnu mušku ulogu (Džekson) u Ujedinjenom Kraljevstvu, Globus za najbolji scenario, kao i MTV nagrade za najbolji film i najbolju scenu plesa, koju su odigrali Uma Terman i Džon Travolta. Godinu dana pre toga, film je osvojio i Zlatnu palmu na filmskom festivalu u Kanu.