Posts filled under #booknow

I have always #imagined t

I have always #imagined that #Paradise will be a kind of library.Sometimes, you read a book and it fills you with this weird evangelical zeal, and you become convinced that the shattered world will never be put back together unless and until all living humans read the book.#bookporn #book #bookscommunity #bookworm #bookaholic #book #booknow #bookshelves #bookshelf #bookishcandle #bookmark #thelordoftherings #kembaliketitiknol #bukubestseller #saptuarisugiharto #bukuislam #bukumotivasi #bukularis #bebasriba #wirausaha #bukumurah #bukupendidikan #jualbukumurah #bukuanakislam #bandung #india #inspirasi #motivasi

Protective Styles $65

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"Onu, sevebileceinin en y

"Onu, sevebileceinin en ycesiyle sevdin. Titreme daha fazla kalbim. Bala kendini artk onu da Brak gitsin. Brak gitsin. O senin ezel gnnden kaderin Sen onu naslsa bin kere daha Seveceksin." "Ey kimselere deimediim Ayrln neden bunca ar?" "Bir nefeslik can kalsayd sana flerdim canmdan Diyecekler; ok yksekti ondaki zindan Grmeli, eline almal, svazlamalydn, retemeden Yazgna kanat ol kol ol diyemeden ayr dtysem senden. Buna yanarm ok, en ok buna yanarm inan. Onaramazdm krdm yerleri Onaramazdn krdn yerleri. Son bir nefesle sana sarldmd. En acs buydu. En acs buydu." #okudumbitti ve ne olur Birhan Keskin okumayan kalmasn, ok zel ok Her satrnda ayr bir ben var, bu kadar m gzel tanmlanr ac bile Sevdiim ikinci kitab oldu Y'ol ve okumadm sadece bir kitab kald Birhan Keskin, Oru Aruoba, Hasan Ali Topta, Ahmet Telli ve daha sayarm okumayan kalmasn hepsi canm Hadi siz de sevdiiniz bir iiri brakn yoruma #kitap #iir #birhankeskin #yol #kimbalayacakbeni #iirler @metiskitap #iirkitapta #ba #iirheryerde #okumahalleri #book #like4like #library #poem #reading #bookshelf #booking #bookstagram #booklover #booklove #bookofinstagram #instabook #instagood #likes #bookphotography #bookaholic #booknow #bookish #instagram

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As the school season star

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As we get older, we get b

As we get older, we get better at choosing things that make us #happy. We do a better #job at picking #activities that make us happy, and at spending #time with people who make us happy. __________ Book now here: or call us directly +356 77283342 and let @buddhamann_malta to make you happy! __________ #sheenalyengar #mondaymotivation #mondayinspiration #mondayhappiness #enjoy #enjoylife #amazing #amazingview #amazingfood #amazingcompany #amazinglytasty #amazingplace #topquality #toptaste #menu #malta #mediterraneansea #seafoodcity #finedining #booknow _________ For more insights hit follow: @caviarandbullbudapest @tarragon_malta @caviarandbull @chefmarvingauci @dinnerintheskymalta

An extract on #booknow

After finishing Scandal, Kurosawa was approached by Daiei studios, which asked the director to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, Shinobu Hashimoto, with whom he would eventually work on nine of his films. Their first joint effort was based on Rynosuke Akutagawa's experimental short story In a Grove, which recounts the murder of a samurai and the rape of his wife from various different and conflicting points-of-view. Kurosawa saw potential in the script, and with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget. Shooting of Rashomon began on July 7, 1950, and, after extensive location work in the primeval forest of Nara, wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's Imperial Theatre on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei. Kurosawa's next film, for Shochiku, was The Idiot, an adaptation of the novel by the director's favorite writer, Fyodor Dostoyevsky. The filmmaker relocated the story from Russia to Hokkaido, but it is otherwise very faithful to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes (nearly four-and-a-half hours) to just 166 minutes, making the resulting narrative exceedingly difficult to follow. It is widely considered today to be one of the director's least successful works. Contemporary reviews were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara. Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the prestigious Venice Film Festival, due to the efforts of Giuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, Rashomon was awarded the festival's highest prize, the Golden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition. After Daiei very briefly exhibited a subtitled print of the film in Los Angeles, RKO purchased distribution rights to Rashomon in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose, in 1937: a critical and box-office flop. However, Rashomon's commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, was very successful. (It earned $35,000 in its first three weeks at a single New York theater, an almost unheard-of sum at the time.) This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. For example, by the end of 1952 Rashamon was released in Japan, the United States, and most of Europe. Among the Japanese filmmakers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujir Ozu (Tokyo Story, An Autumn Afternoon)artists highly respected in Japan but, prior to this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese filmmakers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike. His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, Ikiru. The movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write 12 Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the filmmakers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. Ikiru opened in October 1952 to rave reviewsit won Kurosawa his second Kinema Junpo "Best Film" awardand enormous box office success. It remains the most acclaimed of all the artist's films set in the modern era. In December 1952, Kurosawa took his Ikiru screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai. The ensemble work was Kurosawa's first proper samurai film, the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time. Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time). The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could, and did, market internationallythough with extensive edits. Over timeand with the theatrical and home video releases of the uncut versionits reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1979, a poll of Japanese film critics also voted it the best Japanese film ever made. In the most recent (2012) version of the widely respected British Film Institute (BFI) Sight & Sound "Greatest Films of All Time" poll, Seven Samurai placed 17th among all films from all countries in both the critics' and the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors. In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout, with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, Record of a Living Being, was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films. Record of a Living Being opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate. Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbethset, like Seven Samurai, in the Sengoku Erarepresented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations. Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese settingin this case, the late Edo periodunlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works. Kurosawa's three consecutive movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark, with the possibility of redemption through personal responsibility now very much questioned, particularly in Throne of Blood and The Lower Depths. He recognized this, and deliberately aimed for a more light-hearted and entertaining film for his next production, while switching to the new widescreen format that had been gaining popularity in Japan. The resulting film, The Hidden Fortress, is an action-adventure comedy-drama about a medieval princess, her loyal general and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, The Hidden Fortress became an enormous box office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas's 1977 space opera, Star Wars.