{"id":15638,"date":"2014-08-23T02:52:24","date_gmt":"2014-08-23T01:52:24","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15638"},"modified":"2014-08-23T02:52:24","modified_gmt":"2014-08-23T01:52:24","slug":"parajanov-posters","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/08\/23\/parajanov-posters\/","title":{"rendered":"Parajanov posters"},"content":{"rendered":"<p><img decoding=\"async\" alt=\"parajanov1.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov1.jpg\" \/><\/p>\n<p><em>Shadows of Our Forgotten Ancestors (1964).<\/em><\/p>\n<p>A selection of the better ones. Last week I was rewatching Sergei Parajanov&#8217;s <em>The Colour of Pomegranates<\/em> and was curious to see how it had been advertised. <em>Shadows of Our Forgotten Ancestors<\/em> is also known as <em>Wild Horses of Fire<\/em> (or <em>Horses of Fire<\/em>), after the novelette by\u00a0Mykhailo Kotsiubynsky which provided the story. The Russian poster above shows the fateful axe which kills Ivan&#8217;s father at the beginning of the film, while the French and Japanese posters below play on the horses of fire in their titles.<\/p>\n<p><img decoding=\"async\" alt=\"parajanov2.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov2.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"parajanov3.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov3.jpg\" \/><\/p>\n<p><!--more--><\/p>\n<p><img decoding=\"async\" alt=\"parajanov4.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov4.jpg\" \/><\/p>\n<p><em>The Colour of Pomegranates (1968).<\/em><\/p>\n<p>The film is a suitably poetic biography of Armenian poet Sayat-Nova so once again that&#8217;s how the film is known in some countries.<\/p>\n<p><img decoding=\"async\" alt=\"parajanov5.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov5.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"parajanov6.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov6.jpg\" \/><\/p>\n<p><em>The Legend of the Suram Fortress (1984).<\/em><\/p>\n<p><img decoding=\"async\" alt=\"parajanov7.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/08\/parajanov7.jpg\" \/><\/p>\n<p><em>Ashik Kerib (1988).<\/em><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/10\/15\/short-films-by-sergei-parajanov\/\">Short films by Sergei Parajanov<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shadows of Our Forgotten Ancestors (1964). A selection of the better ones. Last week I was rewatching Sergei Parajanov&#8217;s The Colour of Pomegranates and was curious to see how it had been advertised. Shadows of Our Forgotten Ancestors is also known as Wild Horses of Fire (or Horses of Fire), after the novelette by\u00a0Mykhailo Kotsiubynsky &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/08\/23\/parajanov-posters\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Parajanov posters&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[42,4,7],"tags":[6383,400],"class_list":["post-15638","post","type-post","status-publish","format-standard","hentry","category-books","category-design","category-film","tag-mykhailo-kotsiubynsky","tag-sergei-parajanov"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-44e","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15638","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=15638"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15638\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15638"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15638"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15638"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}