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nefelibatateaser · 3 years

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Could you suggest FCs for each family?

*keep in mind that this rp WILL NOT be resource oriented, so model faceclaims will be suggested (especially for lord leto whose canon counterpart has been explicitly stated as a beautiful young man (not handsome, but beautiful, like an androgynous greek myth figure. with long hair and all that)). *we also do not have a set “age bend” rule in place. we just ask that you be reasonable

HOUSE LETO

DUCHESS LETO (50+) : indira varma, aishwarya rai, madhuri dixit, rani mukerji, sarita choudhury, preity zinta, kajol devgn, sridevi, juhi chawla, mahima chaudhry, manisha koirala, karisma kapoor, raveena tandon, geetanjali rao, deepti naval.

SER LETO (30+) : UNLOCKED AT CH. II

LORD LETO (26-30) : kaya holl, tom ali, saket sharma, aramis knight, akshay kumar, avan jogi, callum stoddart, sebastian de souza, daanisj mahabier.

LADY LETO (23+) : alia bhatt, janhvi kapoor, sara ali khan, shalini pandey, ,anushi chhillar, alaya f, khushi kapoor, keerthy suresh, banita sandhu, aditi rao hydari, kelly gale, neelam gill, ulka gupta.

HOUSE AERDDYD

DUCHESS AERDDYD (45+) : naomi harris, estella daniels, cynthia addai-robinson, carmen ejogo, jill scott, kerry wahington, thandie newton, sophie okonedo, tika sumpter, naomi campbell, catherine lough haggquist, thandie newton, angela bassett.

DUKE AERDDYD (45+) : adrian lester, idris elba, sope dirisu, djimon hounsou, paterson joseph, howard charles, danny sapani, david oyewolo.

SER AERDDYD (30+) : adopted

LADY AERDDYD (27+) : lashana lynch, aalijah hydes, gugu mbatha raw, nathalie emmanuel, susie wokoma, jodie turner smith, laura harrier, pippa bennett-warner, leonie elliott, salem mitchell, grace bol.

LORD AERDDYD (25+) : marcus sivyer, jacob anderson, elliot knight, lucien laviscount, ntonga mwanza, alfie enoch, adonis bosso, torrin verdone.

LORD/LADY AERDDYD (21+) : cara ricketts, assa miriam, tiffany boone, ebonee noel, alexandra metz, crystal clarke, evelyn rain, halle bailey, jemal etnel, odiseas georgiadis, chance perdomo, jacob artist, bruno fabre, masao parris.

HOUSE ANLE

@howlscifer and @herorps are doing GREAT job at making resources for chinese faceclaims. so especially for the the anle children, i suggest going to their blog and giving their packs a look!

DUKE ANLE (46) : wallace huo, li guangjie, qiao zhenyu, hu ge, huang xiaoming, feng shaofeng, liu ye, rick yune, pierre png,

LADY/LORD ANLE (40) : hu caihong, tiffany tang, gao yuan yuan, fan bing bing, ruby lin, juan zi, zhou xun, qin hailu, li bingbing, cynthia koh, cao xiwen, deng sha, jiang xin.

VISCOUNT ANLE (27) : zhang yicong, ding yuxi, fang yilun, tang xiaotian, wang yibo, darren wang, jing boran, chen xiang, gao taiyu, leon li, zhang zhehan, xiao zhan

LORD/LADY ANLE (<27) : li hongyi, lin yi, sheng yinghao, zheng shuang, zhao liying, shao yuwei, li mengmeng, song weilong, gulnazar (nazha), wu qian, song jiyang, wu jinyan, xu kai, angela baby, li qin, chen xinyu, dilraba dilmurat, guli nazha.

LADY ANLE (20+) : zhao lusi, ju jingyi, zhou zixin, jiang yiyi, bai lu, guan xiaotong, jiang zixin, lin yun, meng ziyi, ren min, song zuer, sun yi, xiao yan, zhang xueying, zhang yaqin, yang chaoyue.

HOUSE BAVLENKA

GRAND DUKE BAVLENKA (55) : benjamin bratt, emilio rivera, benicio del toro, andy garcia, esai morales, demian bichir.

DUCHESS BAVLENKA (30-35) : maría mercedes coroy, nathalie kelley, ishbel bautista, emily rios, barbara de regil, maría gabriela de faría.

LORD BAVLENKA (25+) : jorge antonio guerrero, peter gadiot, diego boneta, tommy martinez, chay suede, jessey stevens, vadhir derbez, yago muñoz, jorge lopez.

LADY BAVLENKA (18+) : adopted

HEAD BUTLER (50+) : staff member

*these are just suggestion so feel free to apply as anyone you like as long as they fit !

#if anyone brings srid.evi im going to cry....pls.....#i can talk for 30 minutes non stop about lord leto

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iamyewone-blog · 4 years

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DB 9 (Week 9) Shooting the truth: Photojournalism

- What's the role of photojournalism?

The role of Photojournalism shows us an image that tells viewers stories, stories about what could be happening behind the scene of a photo. A single photo could have a thousand explanations drawn by the photojournalist, there will always be a meaning behind every photo that the photojournalist wants the audiences to know about, whether it is in a photograph, in magazines or newspapers. A single picture can be very powerful and speaks a lot to the world, it was able to change the public's opinions and the real impacts on politics. In history, photojournalism had many untold stories that were very important to the world, images showed the struggles of many people and the world.

This photo called “The Falling Soldier” by Robert Capa. The photo took place in the barren field, where the soldier was almost shot. The soldier has his body falling backward and his knees bent, he is holding a gun where it has almost fallen out of his hands. This image was taken during the Spanish Civil War (1936-39). Capa started working with photojournalism after taking this photo with his 35-mm Leica camera, Capa's photos were able to tell a story.

Robert Capa Artworks & Famous Paintings. (n.d.). Retrieved from https://www.theartstory.org/artist/capa-robert/artworks/#pnt_1

- Are there rules that photojournalists should follow? Why? Why not?

Photojournalism is the fact and art of communicating news through photographs. News shouldn’t be hidden from the public. People have a right to know what happens to the world and it is everyone’s concern.

The responsibility of photojournalist is presenting the fact to the public without manipulating or doing it in a subjective way. Any media brings a lot of influence to the public, When written or spoken word is used to communicate the news it is effective but when combined with photographs of the issue at hand the effect is even stronger and better communicated to the public. Sometimes, a photograph is even more intense than an article. Therefore, as a photojournalist be honest and fair to the fact is really important.

We think there are no specific rules for photojournalists to follow, but there are some tips and ethics to be a successful photojournalist. Photojournalists should not be afraid to capture a truth photograph, whether it is war concern, weather, disastrous, or government and social issue. Any photos of fact are priceless. So the courage and the mind that you will never give up to capture the truth are the tips to be a good photojournalist. After all, the more people know about the world around the more we understand it and respond better to any world issue. And the role of photojournalists is sending these messages to the public and open any kind of issue up to the world.

It is a scene showing deserted camp and wound soldiers. Brady began his journey photographing the American Civile War, at times placing himself in danger during battle though technological limitations stopped him from being able to shoot photos while the subjects were in movement.

Mathew Brady / U.S. National Archives. (n.d.). Retrieved from: https://mymodernmet.com/photojournalism-history/

- Is the ethics of taking journalistic photos different than the ethics of writing a news story?

The ethics of the media is like writing. Therefore both must be disclosed as true. The public gets social facts and information through the media. Therefore, when writing journalism photos and news articles, distorting facts or taking pictures that deviate from moral ethics can cause social problems. In addition, today's digital cameras make it easier to manipulate or add journalism photos and news articles. So press photographers and news stories should be more careful. The bottom line is that news articles or press photos should also be true.

The title of this photo is Saigon Execution (1968). Photo was taken by Eddie Adams on February 1, 1968, in Vietnam, Vietnamese generals Nguyen Ngoc Loan executed Vietcong prisoners during the Vietnam War. The next day published by The Associated Press in The New York Times.

Cris. (2015, May 20). 5.2. Saigon Execution, Eddie Adams. Retrieved from https://heroeswithoutweaponsblog.wordpress.com/2015/05/27/5-2-saigon-execution-eddie-adams/

- What is the impact of altering press photographs? Should they be edited (at all) in post-production?

There is a serious impact on altering press photographs. It may cause the changing of expression from the original photo. Altering anything about the subjects such as edit out the image, adding more people or cropping, move something that would and will disturb the viewer to understand the events that the photo trying to deliver. In the case of post-production, the quality of the photos can be edited in post-production, things like the contrast, the brightness, the sharpness of the photo, but only for the quality of the photo, not the whole image that will change the photographs.

Dying Soldier Hangs to Priest

Puerto Cabello naval base, Venezuela, 4 June 1962. A soldier who has been mortally wounded by a sniper clings onto navy chaplain Luis Padillo. About the image Braving the streets amid sniper fire, to offer last rites to the dying, the priest encountered a wounded soldier, who pulled himself up by clinging to the priest’s cassock, as bullet chewed up the concrete around them. Rondon Lovera, who had to lie flat to avoid getting shot, later said that he was unsure how he managed to take this picture.

Melanie Rosenblatt (June 25, 2016). The Priest and the Dying Soldier, Retrieved from: https://www.juxtapoz.com/news/photography/the-priest-and-the-dying-soldier/

The Floured Ones. Each year on 28 December, residents of Ibi in Spain stage a mock military coup, pelting each other with flour and eggs and letting off firecrackers. At the end of the day, the fines are donated to charity.

Lunchtime atop a Skyscraper

Lunchtime atop a Skyscraper is a famous photograph taken by Charles C. Ebbets during the construction of the GE Building at Rockefeller Center in 1932. The photograph depicts 11 men eating lunch, seated on a girder with their feet dangling hundreds of feet above the New York City streets. Ebbets took the photo on September 29, 1932, and it appeared in the New York Herald Tribune in its Sunday photo supplement on October 2.

Photographs That Changed The World - Part 3, Retrieved from: http://thepirata.com/photographs-that-changed-the-world-part-3/

Taken by Sonny Vong, (2018)

Reference

The New York Times. (Oct. 16. 2015). Staging, Manipulation and Truth in Photography, Retrieved from: https://lens.blogs.nytimes.com/2015/10/16/staging-manipulation-ethics-photos/

Leland.J (Jan. 18, 2018). A Father, a Son, a Disease, and a Camera, Retrieved from: https://lens.blogs.nytimes.com/2018/01/18/a-father-a-son-a-disease-and-a-camera/?mtrref=lens.blogs.nytimes.com&gwh=D9B42ADC4716E44C8043B96CBCE278E6&gwt=pay&assetType=REGIWALL

Members

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Yeajin Chun 101185796

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Quang Quan Vong 101269725

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wbrsdavidhlb · 4 years

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Major Events in 2019 Regarding China-France Relations

This year (2019) marks the 70th anniversary of the founding of the People’s Republic of China (PRC), the 70th anniversary of the establishment of diplomatic relations between China and Russia, the 40th anniversary of the establishment of diplomatic relations between the PRC and the United States of America (USA), the 55th anniversary of the establishment of diplomatic relations between France and the PRC, the 100th anniversary of China’s anti-imperialist May Fourth Movement, the 100th anniversary of China’s Diligent Work-Frugal Study Movement in France, and the 150th anniversary of the discovery of the giant panda in southwest China’s Sichuan Province by the French missionary, zoologist and botanist Armand David (1826-1900).

On January 27, 1964, when the Sino-Soviet Split (1959-1989) was going on, France became the very first Western power (Sweden and Switzerland are also considered as Western countries) to establish ambassadorial-level diplomatic relations with the People’s Republic. The Sino-British relationship did not reach its ambassadorial level until March 13, 1972. Unfortunately, from an ideological perspective, the Sino-French relationship is not equal. According to both China’s state-run Xinhua News Agency and China Central Television (CCTV), on January 27, 2019, Chinese President Xi Jinping and his French counterpart Emmanuel Macron exchanged congratulations on the 55th anniversary of the establishment of diplomatic ties between Beijing and Paris. However, neither the Élysée Palace nor Agence France-Presse (AFP) covered this piece of news. In general, China’s state-run media outlets focus on Sino-French friendship, whereas France’s mainstream media outlets keep spreading their anti-China hysteria along with American, British and Australian mainstream media outlets.

President Xi paid his second state visit to France from March 24 to 26, 2019. President Macron paid his second state visit to China from November 4 to 6, 2019. There were several anti-China protests in France upon President Xi’s arrival in late March 2019, but there was no single anti-France protest on the Chinese mainland upon President Macron’s arrival in early November 2019. Although it is highly unlikely for the level of today’s Sino-French relationship to rise up again to that of the Charles de Gaulle (1890-1970) era (presidency: 1959-1969) or that of the Jacques Chirac (1932-2019) era (presidency: 1995-2007), China and France did reach a historic mechanism on November 6, 2019, confirming that the head of state of the PRC and that of the French Republic should meet with each other at least once a year. Such a high-level bilateral mechanism does not even apply to the Sino-Russian relationship because the President of the PRC and the President of the Russian Federation already have plenty of multilateral opportunities to meet with each other every single year, including the annual G20 Summit, the annual BRICS (Brazil, Russia, India, China, and South Africa) Summit, the annual Shanghai Cooperation Organisation (SCO) Summit, and the annual Asia-Pacific Economic Cooperation (APEC) Summit. The 2019 APEC Summit was canceled because of the unrest in Santiago, Chile.

Although France invaded China multiple times during the Century of Humiliation (1839/1840-1949) of the Chinese nation, the Chinese side keeps recalling the positive aspects of its diplomatic history with foreign powers, not the other way around. From 1919 until Deng Xiaoping (1904-1997)’s departure from France for the Soviet Union (1922-1991) by train in January 1926, many Chinese revolutionaries, including Zhou Enlai (1898-1976), Zhou’s initial girlfriend Professor Zhang Ruoming (1902-1958), Deng Xiaoping, Chen Yi (1901-1972), Cai Hesen (1895-1931), Cai Hesen’s wife Xiang Jingyu (1895-1928), Li Fuchun (1900-1975), Li Fuchun’s wife Cai Chang (1900-1990), Zhao Shiyan (1901-1927), and Nie Rongzhen (1899-1992), all participated in the Diligent Work-Frugal Study Movement in France. Li Fuchun and Cai Chang’s Paris-born daughter Li Tete (born 1923) grew up in the Soviet Union from 1938 to 1952, took part in the Great Patriotic War (1941-1945) against Nazi Germany (1933-1945)’s aggression, studied nuclear physics at the Bauman Moscow State Technical University (МГТУ) in 1944, and then transferred to an agricultural college in Moscow in 1947. Li Tete currently lives in Beijing’s Xicheng District. She speaks neither English nor French because she left France for central China’s Hunan Province with her maternal grandmother Ge Jianhao (1865-1943) around 1924 when both of her parents, Li Fuchun and Cai Chang, left France for the Soviet Union. However, Li Tete speaks both Chinese and Russian. As a Chinese veteran of the Great Patriotic War, Li Tete received a commemorative medal with President Boris Yeltsin (1931-2007)’s autograph on the occasion of the 50th anniversary of the victory of the World Anti-Fascist War in 1995, and shook hands with then-Russian President Dmitry Medvedev in the costal city of Dalian in northeast China’s Liaoning Province on September 26, 2010, according to China’s state-run Xinhua News Agency. Dalian’s Lüshunkou District was being occupied by the Russian Empire (1721-1917) from 1898 to 1905, by Japan from 1905 to 1945, and by the Soviet Union from 1945 to 1955. Their stories in France, excluding the story of Li Tete, were vividly depicted in the 2012 Chinese television series titled Nos Années Françaises (我们的法兰西岁月).

Given the historical context mentioned above, the release ceremony of the Sino-French documentary titled The Diligent Work-Frugal Study Movement: The School of Chinese Revolutionaries (留法百年 / Le mouvement Travail-Études : l’école des révolutionnaires chinois), co-produced by the China Global Television Network (CGTN) of China Media Group (CMG) and France’s TV5MONDE, was held at the Centre Culturel de Chine (CCC) in the 7th arrondissement of Paris on Saturday, March 23, 2019. This documentary’s director David Dietz, former French Prime Minister Jean-Pierre Raffarin, Curator of the National Art Museum of China (NAMOC) Wu Weishan, CGTN French (CGTN-Français) Director Song Jianing, Director-General of TV5MONDE Yves Bigot, and many others attended this event.

In order to commemorate the 150th anniversary of the discovery of the giant panda in Sichuan, China, by France’s Armand David, the opening ceremony of the Sino-French Panda Culture Week was held at the Centre Culturel de Chine (CCC) in Paris on Monday, November 4, 2019.

China Media Group (CMG) also promoted the 2018 CCTV documentary titled Every Treasure Tells a Story (如果国宝会说话 / Si le passé pouvait parler) at the Louvre Museum in the 1st arrondissement of Paris on Monday, December 9, 2019.

China Central Television (CCTV)’s daily flagship news program Xinwen Lianbo is the Chinese equivalent of Channel One Russia (Первый канал)'s daily prime-time news program Vremya. For the sake of maintaining the Sino-French friendship, unlike China’s foreign-language television network CGTN, Xinwen Lianbo’s coverage of France’s “Yellow Vests” Movement (November 17, 2018 – Present) was almost zero in the beginning. However, its coverage of the same movement significantly increased after Western-backed riots broke out in the PRC’s Hong Kong Special Administrative Region (HKSAR) in the summer of 2019. According to CCTV, the French police have the legal right to restore order and rule of law in France; the Hong Kong police also have the legal right to do the same thing within their jurisdiction.

The details of President Xi’s second state visit to France and most of those of President Macron’s second state visit to China are not covered in this article. For more authoritative information regarding these two state visits, please consult the official websites of Xinhua News Agency, the People’s Daily, China Radio International (CRI), CCTV/CGTN, and/or the Ministry of Foreign Affairs of the PRC (FMPRC). They are all available in Chinese, English, French and Russian.

For more information, please follow us on Facebook, Twitter, VK, Sina Weibo, and Instagram.

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theartoffrozen · 9 months

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Art for Disney Mirrorverse by Charles Chen Ge

#disney mirrorverse #Disney games #elsa #promo art #illustration #Charles Chen Ge

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victoirehq-blog · 5 years

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mwm for the langerak?

hey there anon , here are some mwm i’d love to see for the langerak role within the alliance !!bradley cooper , chen xiao , nathaniel buzolick , gabriel maddox , kim jongin , santiago segura , tom madden , jordan calloway , charles melton , casey cott , miguel herrán , jaime lorente , alvaro rico , arón piper , itzan escamilla , benito martinez , juan carlos ozuna , ryan gosling , zac efron , liam hemsworth , will smith , kim seokjin , kris wu , hu ge .

#Anonymous #appless rp #gang rp #crime rp #mwm

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writerkingdom · 6 years

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florenciaalvarez · 6 years

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Every Building in Baghdad: the Rifat Chadirji Archives at the Arab Image Foundation

Curated by Florencia Alvarez, Adam Bandler, and Mark Wasiuta

January 7 - February 17, 2018

LAXART, Los Angeles

This exhibition examines the work of Iraqi architect Rifat Chadirji through the collection of his original photographs and building documents held at the Arab Image Foundation in Beirut. With the work of his architectural office, Iraq Consult, and in his other professional and intellectual roles, Chadirji became a pivotal cultural figure in Baghdad during the period of its postwar modernization from the 1950s through the 1970s. As an architect, planning con- sultant, and Director of Buildings for various government agencies, Chadirji was central to the organization of Baghdad and to the consolidation of its postwar image. With nearly one hundred buildings Chadirji helped foster the emergence of the factories, colleges, monopoly headquarters, communication structures, and other new building types that appear in Baghdad following Iraq’s 1958 revolution.

Despite the long historical continuity evoked by his regionally inflected modernism, Chadirji was all too aware of the transformative effects of Iraq’s growing oil economy. His work as a photographer was informed by his exposure to Iraq’s political and cultural precariousness, while it foresaw greater disruption ahead. Over a span of more than twenty years, Chadirji recorded the street life, social practices, and spaces that he believed were threatened by the development driving Iraq’s postwar evolution. Over the same period, he meticulously photographed his own architectural work in an attempt to produce documents that could survive the damage, alteration, and potential destruction of his buildings.

The threat that lurks within the Chadirji archives reverberates with the current instability in Iraq and its region and with the continuing specter of building destruction and cultural violence. The texture of precarity within Chadirji’s photographs also underscores the institutional project of the Arab Image Foundation and its attempt to assemble, secure, and preserve the photographic history of the Arab World. In this sense, Chadirji’s photographs and building documents exhibit at least three identities: they are an informational system describing every building within his architectural oeuvre; they are a device to preserve the image of Iraq’s experience of modernization; and they are the charged signifiers of collateral damage and the historical and cultural vulnerability that marks the archives of the Arab Image Foundation.

“Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation” originated at the Arthur Ross Architecture Gallery at Columbia University’s Graduate School of Architecture, Planning, and Preservation. It was curated by Florencia Alvarez, Adam Bandler, and Mark Wasiuta.

A second version of the exhibition was presented at the Graham Foundation in Chicago in Fall 2016, and was organized by the curators with Ellen Alderman, Ava Barrett, and Sarah Herda.

The LAXART presentation is organized by the curators with Makayla Bailey, Catherine Taft, and Hamza Walker.

LAXART would like to acknowledge the contributions of the Arthur Ross Architecture Gallery student workers including M.Arch and CCCP Assistants: Becca Book, Grete Grubelich, and Tania Tovar Torres; the M.Arch Exhibitions Crew: Valentina Flora Angelucci, Cameron Dean Cortez, Jiangyu Chen, Andrea Ayleen Chiney, Charles Hajj, Eugene Sen Chun Ong, Edward Joseph Palka, Angelina Andriani Putri, Miranda Shugars, Ilijana Soldan, Zachary Ross White, Haochang Yu, Evelyn Zhang; and the CCCP Exhibitions Crew: Maite Borjabad, Pedro Ceñal Murga, Rosana Elkhatib, Ruishi Ge, Joachim Hackl, Robin Hartanto, Chi-Chia Hou, Sara McGillivray, Iara Pimenta, as well as the GSAPP Fabrication Lab crew.

Generous support provided by the Graham Foundation for Advanced Studies in the Fine Arts.

Exhibition Design: Adam Bandler and Mark Wasiuta

Graphic Design: MTWTF

http://laxart.org/exhibitions/every-building-in-baghdad

Exhibition Booklet: https://issuu.com/flor.ap/docs/chadirji_laxart

#exhibitions #laxart

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