Director: Federico Fellini
Cast: Giulietta Masina, Marcello Mastroianni, Franco Fabrizi
Italy, France, Germany 125’, 1986, color
Italian and English with Turkish subtitles
In 1986, Fellini's satiric take on television vulgarism might have been considered, well, Fellini-esque. Today, the grotesque commercials and insipid game shows he depicts pale next to reality. Billed in their heyday as Ginger & Fred, Amelia (Giulietta Masina) and Pippo (Marcello Mastroianni) are reunited after 30 years to perform their Rogers-Astaire ballroom dance tribute act on We Are Proud to Present, a television variety show. Amelia is now a widowed grandmother. Pippo has gone somewhat to seed. Can they recapture the magic amidst this surreal circus of transvestites, midgets, and a Ronald Reagan impersonator? Ginger & Fred works best when Amelia and Pippo's bittersweet reunion is center stage, thanks to the impeccable charm and grace of Masina (La Strada) and the incomparable Mastroianni (La Dolce Vita), two actors most closely associated with the director. Ginger & Fred is as much a tribute to artists as it is to the ephemeral state of cinema itself. "We are phantoms," Pippo tells his partner. "We arise from the darkness and disappear again." Like Pippo, Fellini makes a few missteps, but Ginger & Fred is ultimately quite moving film with an unforgettable train station finale.
Trailer
This life-size portrait of a girl is a fine example of the British art of portrait painting in the early 18th century. The child is shown posing on a terrace, which is enclosed at the right foreground by the plinth of a pillar; the background is mainly filled with trees and shrubs.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
Following the opening of his studio, “El Chark Societe Photographic,” on Beyoğlu’s Postacılar Caddesi in 1857, the Levantine-descent Pascal Sébah moves to yet another studio next to the Russian Embassy in 1860 with a Frenchman named A. Laroche, who, apart from having worked in Paris previously, is also quite familiar with photographic techniques.
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The museum is closed on Mondays.
On Wednesdays, the students can
visit the museum free of admission.
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