A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Branko Tomović

Branko Tomović (Serbian Cyrillic: Бранко Томовић; born June 17, 1980) is a Serbian-German actor. He was born in Münster, Germany, though his actual origin is from the Carpathians in Serbia. His parents emigrated in the 70's from the Golubac Fortress area on the Danube and Branko was raised between Germany and Serbia before he studied acting at the prestigious Lee Strasberg Theatre Institute in New York City. Tomović was first seen on the big screen in the lead role in the American Film Institute/Sundance drama Remote Control, for which he received the OmU-Award at the Potsdam Film Festival.

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Currently settled in London, with his dark, brooding looks he has appeared in striking roles on British Television. He played the creepy main suspect Antoni Pricha, the Morgue Man, in Jack the Ripper thriller Whitechapel, the pyromaniac Junky-Henchman Marek Lisowski in the final episodes of A Touch of Frost and Polish fighter pilot Miroslaw Feric in the World War II drama The Untold Battle of Britain. Tomovic has worked with internationally respected film directors as Ken Loach, Sönke Wortmann and Paul Greengrass. He was named "One to Watch" by Moviescope Magazine in 2008 and recent film credits include The Bourne Ultimatum opposite Matt Damon (Dir. Paul Greengrass), It's a Free World... (Dir. Ken Loach), The Wolf Man (Dir. Joe Johnston), Pope Joan (Dir. Sönke Wortmann) and Interview with a Hitman (Dir. Perry Bhandal). In 2010, he won the 'Best Actor' Award at the San Francisco Short Film Festival and at The Accolade Film Awards for his performance as a Serbian soldier who is tormented by grief and guilt after being a witness of war crimes in the drama Inbetween.

Awards:

  • Philadelphia Documentary & Fiction Film Festival 2011 - Best Actor for "The Crossmaker"
  • Goldie Film Awards 2011 - Special Award for Best Actor for "The Crossmaker"
  • San Francisco Short Film Festival Award 2010 - Best Actor for "Inbetween"
  • The Accolade Film Awards 2010 - Best Leading Actor for "Inbetween"
  • MovieScope Magazine 2008 - "One to Watch"
  • Potsdam Film Festival 2002 - OmU-Award for "Remote Control"

Filmography (Selection):

  • Law and Order UK (2013)
  • Silent Witness (2013)
  • Ein Fall für zwei - Adams Sünde (2013)
  • Entity (2012)
  • Believe the Magic (2012)
  • Interview with a Hitman (2012)
  • Strike Back (2011) (TV)
  • Coming Up - Home (2011) (TV)
  • Will (2011)
  • Tatort (2011) (TV)
  • Polizeiruf 110 (2010) (TV)
  • The Untold Battle of Britain (2010) (TV)
  • A Touch of Frost (2010) (TV)
  • Pope Joan (2009)
  • The Wolf Man (2010)
  • Whitechapel (2009) (TV)
  • Inbetween (2008)
  • Into the Woods (2008)
  • Taximan (2008)
  • Casualty (2008) (TV)
  • The Bourne Ultimatum (2007)
  • It's a Free World... (2007)
  • The Bill (2007) (TV)
  • Amor Fati (2005)
  • Dirty Seed (2005)
  • Casualty (2005) (TV)
  • Siska (2003) (TV)
  • Bella Block (2002) (TV)
  • Remote Control (2001)

Links: 

From Wikipedia


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People Directory

Branislav Vidić

Др Бранислав - Брана Видић (Сремска Митровица, 20. мај 1934), професор на Џорџтаун универзитету у Вашингтону, академик, светски стручњак за микробиологију. Дипломирао је стоматологију у Београду, а последипломске студије је завршио на Атомском институту у Швајцарској. У Швајцарској држи повремено предавања као гостујући професор. Поред научног, бави се хуманитарним радом и председник је организације „Ми бринемо“, која је помагала у збрињавању избеглица.

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Publishing

Sailors of the Sky

A conversation with Fr. Stamatis Skliris and Fr. Marko Rupnik on contemporary Christian art

In these timely conversations led by Fr. Radovan Bigovic, many issues are introduced that enable the contemporary reader to deepen and expand his or her understanding of the role of art in the life of the Church. Here we find answers to questions on the crisis of contemporary ecclesiastical art in West and East; the impact of Impressionism, Expressionism, Cubism, Surrealism and Abstract painting on contemporary ecclesiastical painting; and a consideration of the main distrinction between iconography and secular painting. The dialogue, while resolving some doubts about the difference between iconography, religious painting, and painting in general, reconciles the requirement to obey inconographic canons with the freedom essential to artistic creativity, demonstrating that obedience to the canons is not a threat to the vitatlity of iconography. Both artists illumine the role of prayer and ascetisicm in the art of iconography. They also mention curcial differences between iconography in the Orthodox Church and in Roman Catholicism. How important thse distinctions are when exploring the relationship between contemporary theology and art! In a time when postmodern "metaphysics' revitalizes every concept, these masters still believe that, to some extent, Post-Modernism adds to the revitatiztion of Christian art, stimulating questions about "artistic inspiration" and the essential asethetic categories of Christian painting. Their exceptionally wide, yet nonetheless deep, expertise assists their not-so-everday connections between theology, ar, and modern issues concerning society: "society" taken in its broader meaning as "civilization." Finally, the entire artistic project of Stamatis and Rupnik has important ecumenical implications that aswer a genuine longing for unity in the Christian word.

The text of this 94-page soft-bound book has been translated from the Serbian by Ivana Jakovljevic, Fr. Gregory Edwards, and Andrijana Krstic. Published by Sebastian Press, Western American Diocese of the Serbian Orthodox Church, Contemporary Christian Thought Series, number 7, First Edition, ISBN: 978-0-9719505-8-0