Stephen Spielberg and Stephen King will unite efforts for creation of a miniserial on the basis of recently left novel of the writer "Under The Dome". On it informs edition Variety.
Under The Dome by Stephen King
Action of product of King develops in city of Chester's Mill in the State of Maine. Once townsmen find out, that their city is surrounded invisible, but an impenetrable board about which planes and cars break. Nobody knows, the dome and as of a dome will get rid whence undertook.
It is necessary to notice, that King has conceived this novel still in the mid-eighties the last century, however then he has not managed to finish a plot and has finished the book only in the beginning of 2009.Spielberg, King and the head of studio DreamWorks Stacey Snider become producers of the project. The film studio plans to find at first script writers, and only then to offer a serial to interested television networks.
The talisman is postponed for uncertain term
Let's remind, that Spielberg and King already co-operated earlier, trying to adapt for the wide screen the novel of the writer "Talisman". It has not turned out a full-length screen version, and the television project has been postponed for uncertain term because of financial crisis.
To kick off Mother, NY new relationship with Burger King in 2013, they have launched three new spots for the 'Breakfast' campaign. Titled “First Cup,” “Two Thumbs” and “Faustin,” the series highlights Burger Kings re-entry into the breakfast mindset and showcases two new breakfast offerings: freshly brewed Arabica coffee for 25 cents and the mouth watering Gouda Bacon Sandwich. Set within the walls of the Burger King home, its restaurant, viewers learn about the new breakfast items while meeting a soon-to-be recurring cast of characters joining the familiar cast of employees including affable patriarch of the Burger King family John the Manager.
In the 15-second spots “First Cup” and “Two Thumbs,” our patriarch John excitedly touts Burger King’s new smooth and delicious coffee for a price that can’t be beat. The 30-second “Faustin” spot has Burger King’s new resident French chef discerningly construct his newest creation the Bacon Gouda Sandwich. An anxiously awaiting crowd gathers around Faustin’s kitchen as he completes his masterpiece and reminds them not forget the most important consideration for the perfect breakfast sandwich: “Ze new coffee!”
Credits: Project Name: Breakfast Campaign Agency: Mother NY Client: Burger King Spot: “First Cup,” “Two Thumbs” and “Faustin” First Launch Date: Feb 18 2013 Media: TV Creatives: Mother New York Mother New York Mother New York Mothers: Mother New York Agency Producer: Mother New York Music/Business Affairs: Mother New York Production Company: Imperial Woodpecker Director: Stacy Wall DP: Peter Donahue Executive Producers: Doug Halbert Line Producer: Anita Wetterstedt Costume & Wardrobe Design: Lee Ann Jarvis Production Designer: Tony Gasparo Hair / Make Up: Jenni Clark Editorial Company: Now Corporation/EP Nancy Finn Editors: Nelson Leonard, Jesse Reisner Animation & Post-Production Company: Suspect/Houses in Motion Executive Producer: Rob Appleblatt Post Producer: Alena McDougal Music Production: Various Stock Music/Finger Music TV Mix: Sound Lounge
King Arthur Flour, a 220-year-old Vermont business, shares enthusiasm for the tradition of baking through the Web, and inspires bakers to discover new items, recipes and techniques. The Power Of The Web... Good's agency arm Good/Corps has officially partnered with Google for a series of television spots that promote small businesses. The campaign, which began with Good's presentation to Google about the two organizations' shared vision regarding social value, currently has two spots. The first one, Frank Restaurant, about a mom-and-pop establishment, debuted earlier in the fall. The second, King Arthur Flour, is about a centuries-old startup that gained a new lease of life with its partnership with Google.
The aim of the campaign is to connect Google, an economic powerhouse in its own right, with small businesses with a huge history, like King Arthur Flour, and how these businesses have reinvigorated themselves with the help of Google.
Del Taco’s new Fresca Bowls are full of surprises. Unlike other bowls, they’re jam-packed full of fresh ingredients. The bigger surprise? They only cost $4 each. Makes you wonder what other fresh surprises await you when you finish it.
Creative Credits: Advertised brand: Del Taco Advert title(s): New Fresca Bowls Fresh Farmer Headline and copy text (in English): Advertising Agency: Camp + King, San Francisco, CA, USA Agency website: http://www.camp-king.com/ Partner and Chief Creative Officer: Roger Camp Partner and Chief Executive Officer: Jamie King Creative Directors: Rikesh Lal, Paul Sincoff Art Director: Eric Lowery Copywriter: Avery Stokes Harrison Integrated Head of Interactive Production: David Verhoef Production Company and City: The Media Mob, Santa Monica, CA Director: Tyler Spindel Executive Producer/Partner (Production Company): Greg Jones Producer/Managing Partner (Production Company): Aesli Grandi Producer (Production Company): Desiree Laufasa Photography: Sara Remington Photography Production Company and City: Sara Remington Photography, San Francisco Bay Area Director of Photography: Michael Pescasio Post Production and City: Spy, San Francisco Editorial Company and City: Misfit, San Francisco Editor: Doug Cox Assistant Editor: Marissa Rosado Executive Producer: Kelly Koppen Music Company and City: Yessian Music Composer: Brian Yessian, Michael Yessian Visual Effects Company and City: Spy, San Francisco Visual Effects Supervisor: Darren Orr Visual Effects Executive Producer: Lori Joseph Brand Director: Lindsay Menasco Business Affairs: Tricia Krasneski Director of Strategy: Anne Tway Strategist: Allison Farquhar
Spike Lee directs and stars in the newest commercial for the NBA entitled "The King of New York" which tells the story of Bernard King and his legendary Knick's 60-point game against the Nets on Christmas day back in 1984.
Music and song title is "Get Up Stand Up" by Public Enemy from Most of My Heroes STILL Don't Appear on NO Stamp.
Credits: Creative Agency: Goodby Silverstein & Partners Client: NBA Director: Spike Lee
Here comes the King in Foot Locker's new ad...Snoop Lion is king of LA in the new adidas Originals Hard Court Defenders sneakers exclusive to Foot Locker.
Credits: Creative Advertising Agency: Abbott Mead Vickers BBDO, London, UK Director: Ben Newman Creative Director: Thiago De Moraes Creatives: Michael Jones, Adam Whitaker Producer: Anita Sasdy Agency Producer: Alex Lewis Digital producer: Angela Meier VFX: The Moving Picture Company Photographer: Michael Ragen Production co. producer: James Sorton Post-production company: MPC Production: Pulse
Several men use different weapons of seduction to impress the most radiant girl at the party, but only Antonio Banderas is the true King of Seduction. The ads feature Banderas and of course "The Girl" who is the lovely Estella Crow.
Below more from the ad campaign just launched for Antonio's new fragrance King of Seduction. Spots include: The Secret, Her Secret, The Golden Secret, and Blue Seduction.
...and yes, this is a re-launch of the same campaign originally released in 2012.
Burger King asks the question: In a multitasking world, how can we help people use their hands to do their everyday chores and enjoy their Whopper at the same time? And, the result...the ridiculously stupid yet entertaining to watch in action "Hands-Free Whopper" holder.
Portrait for magazine «TIME» cover on March, 19th, 1984. The author: Andy Warhol.
As though each of us personally concerned the person of king who has recently left on rest of the popular music, undoubtedly one is there was very strange person who has left very appreciable trace on a planet the Earth. It is natural, that the outstanding personality and not trivial life drew attention of many artists using the recognised image for the author's works.
As a tribute of memory to the person-epoch we have decided to make art gallery, where the protagonist one — Michael Jackson.
Michael Jackson's created to release of a film of 1988 Moonwalker the sculpture-robot in which the singer turns in the robot.
It does not matter if you’r black or white. The author: Scott Bowler.
Michael Jackson and chimpanzee. The sculptor: Jeff Koons. The sculpture of the singer from the gilt porcelain at which the chimpanzee in a lap sits, has been executed in 1988 in number of three copies (plus one author's).
Statue of the king of popular music, balcony of the house leaving on Piccadilly Circus, London.
New York hyperrealist Richard Phillips represents a picture under the name «Jacko» with the image of a porcelain face of the superstar.
Michael Jackson's digital portrait. The author: Hisui.
With thanks to Steve at Adrants, we got the 2012 Super Bowl commercial for Pepsi featuring X Factor winner Melanie Amaro singing a version of Otis Redding's Respect recorded specifically for the ad to a kingly Elton John, entitled "King's Court".
Credits: Created by TBWA\Chiat\Day Directed by Noam Murro
Just when you thought you've seen it all, dating site Zoosk and it's creative ad agency Camp+King release this spot simply entitled "Frog Kiss." The ad is just that, a young lady who seems be desperate to find her Prince Charming hopes that engaging a long passionate kiss with the frog will help. Ya, we found it to be pretty sick too.
Credits: Ad Agency: Camp + King Chief Creative Officer: Roger Camp Creative Directors: Rikesh Lal / Adam Koppel Art Directors: Dan Korn Copywriters: Kyle Davis Production Company and City: Go Film. Los Angeles Director: Jeff Tomsic Executive Producer: Gary Rose/ Catherine Finkensteadt Producer: P.J. Sodaski Director of Photogrphy: Steven Calitri Post Production City: Umlaut Films. San Francisco Editorial Company and City: Umlaut Films. San Francisco Editor: Doug Cox Music Company and City: Dragon Licks. New York Executive Music Producer: Dave Curtin Song used/band: "The Search Is Over" by Survivor Sound Design Company & City: One Union Recording Studios. San Francisco Sound Designer: Joaby Deal Account Service Supervisor: Emily Forsyth Assistant Manager: Grace Lazarus Planner: Anne Tway Additional Credits: Colorist/Effects Supervisor: Ivan Miller Executive Producer (Editorial Company): Gina Locurcio Production Designer (Production Company): Anthony Pizza Production Manager (Production Company): Matt Oehlberg PRODUCER(s) TO BE CREDITED IN CREATIVITY: David Verhoef
Credits: Ad Agency: King James, Cape Town Production: Egg Films Director: Kim Geldenhuis Chief Creative Officer: Alistair King Executive Creative Director: Matt Ross Creative Director: michael wilson Copywriter: michael wilson Art Director: Cameron Watson Producer: Rozanne Rocha-Gray Executive Producer: Colin Howard Sound: We Love Jam Account Director: Melanie De Winnaar Agency Producer: Caz Friedman Post production: Black Ginger Music Studio: Mad Planet
In the United States of America there was a book under the name «101 most influential invented person» in whom authors have tried to investigate as fruits of another's imagination influence our life. The list of the most influential was headed by courageous American cowboy Malboro who has appeared in 1950 and has helped to increase sales of cigarettes.
Second number in the list — the Big brother from the book «1984» George Oruell, the third — King Arthur embodying as authors speak, lines of the ideal monarch, and fourth place Santa Claus.
«Santa Claus operates all our economy in the last quarter of year, and without the Christmas grandfather many firms would be ruined», — one of authors of the book Allan Lazar has told. Barbie — «the plastic babe» who became the sample for imitation for millions little girls, having introduced the new standard of beauty and style», — is on 43rd place.
In the list there are also beings absolutely not similar to the person, for example: King-Kong and the Godzilla, the Cinderella and Ancient Greek tsar Midas, Faust and uncle Sam — a symbol of the USA.
Meet Richy Carrasco, the 360 King, in the first Companion Stories video series ads from Samsung for the Galaxy S4. Old school skate legend, all round nice guy and world record holder. Watch his incredible spin moves and hear his life story about love, longevity and freestyle skateboarding.
Filmed in California, USA we follow Richy and the Sk8 Kings to see what motivates them and the journey they have been through to get to where they are today. Showcased using the GALAXY S4, Dual Shot, Drama Shot and Animated Photo.
Credits: Advertising Agency: Jam Executive Creative Director: Wayne Deakin Creative Director: Chris De Abreu Head of Film: Drew Wolf Lead Agency Producer: Veronica Saez Creatives: Luke Norton, Drew Wolf Community Manager: Sophie Mindell Account Director: Juyong Kim Head of Planning: Iain Matthews Planner: Helen Spencer Project Manager: Adam Green Production Company: Annex Films Producers: Annex Films Director: John X Carey Editor: Annex Films
"Tastes change, fashions change, and the advertiser has to change with them." Thomas J. Barrat, aka. "the father of modern advertising".
The industry of advertising has not failed to realize the emergent customization of literally anything that surrounds us. Being one of the many social changes the digital world has brought, advertisers soon understood the benefits of tailoring their products to specific audiences. This goes in line with other customization trends that this decade of the twenty-first century has seen, such as 3D printing technologies allowing you to have a different -and brand new!- cereal bowl every day; or the striking objects and architectures that digital design has freed from the idea of 'the mass'.
Advertisers have slowly, but steadily, started to implement this new approach in a variety of ways, both virtual and analog. While predicting the future is always a slippery thing to do, one could start to see a tendency to favour all things bespoke, to the detriment of audiences understood as homogenous masses of identical individuals. This had started shyly with the television, where toys would be advertised in the middle of children’s programs, and alcoholic beverages after late-night movies. The exploitation of these customization techniques, however, has undergone a radical makeover with the arrival of the Internet and the subsequent acceptance of the digital realm. Customization of a company's advertising campaigns comes hand in hand with other public relation strategies, as a matter of fact, and is intimately related to the company's brand identity. When a PR agency embarks the task of developing developing a corporate brand identity, it will typically begin by asking just that: who are our customers? Clarifying what your audience’s needs are is a step in the right direction when it comes to bespoke advertising, based on the potential customers' specific tastes and likings, rather than blindly advertising to an obscure mass of unknown individuals.
You might have realized that the advertising in sites such as YouTube or your e-mail service provider varies according to your latest web searches or the messages you have exchanged with your contacts. Indeed, the algorithm sometimes gets things wrong, such as the day my German boyfriend sent bussi (kisses), and a bunch of adverts of Finnish bus companies (bussi) appeared in Suomi all over my web browser! If you are yet to realize about these changes, you might well have received a newspaper in the post, with your own name printed in the headline instead! University prospectuses these days are also customized to the prospective student's interests, and displaying their name on every other page. Could this be the doomsday of mass advertising?
Advertising is arguably as old as human society, and it started as a way to inform the public, ie. the audiences and potential clients, about one's own services. Never before, however, has advertising had the possibility of selecting its audiences as carefully as before. Flyers have been put up by blacksmiths and doctors alike, while stall owners at markets have sung and shouted about their products in all cities worldwide. Nowadays, more than a decade into the twenty-first century, it is more urgent than ever to utilize digital technologies in order to do something that these advertising methods did not: optimization. These methods were targeting all passers-by, without carefully selecting them in order to direct their message only to those who might have been interested in the services offered. In other words, optimized advertising means sending out one's message only to interested audiences, and thus avoiding unnecessary expenses.
Moving away from mass advertising means entering an era of optimal advertising. Thankfully, this is possible because the means are now available. All successful businesses are acutely aware of it, but not all strands of possibility have been explored. Television and cinema, not to mention newspapers, are only the grandparents to the new universes of interactive and multi-media advertising that gadgets such as tablets and smartphones have opened before us. Advertising brought to you in a silver tray.
A guest post from Fortune PR.
Photo Credit: Mackenzie King addressing an outdoor audience on his Western Tour, 1941. William Lyon Mackenzie King. Library and Archives Canada, C-068667
The history of the horse is the history of civilisation itself. The horse has had a revolutionary impact on ancient civilisations and this major exhibition explores the influence of horses in Middle Eastern history, from their domestication around 3,500 BC to the present day. Britain’s long equestrian tradition is examined from the introduction of the Arabian breed in the 18th century to present day sporting events such as Royal Ascot and the Olympic Games.
Fragment of a carved relief featuring three horses drawing a chariot. From the north-west palace, Nimrud, Assyria (modern-day Iraq). Neo-Assyrian, 9th century BC. [Credit: BM]Important loans from the British Library, the Fitzwilliam Museum and the Royal Armouries, as well as rare material from Saudi Arabia, will be seen alongside objects from the British Museum’s exceptional collection, including famous pieces such as the Standard of Ur and Achaemenid Persian reliefs. Supported by the Board of Trustees of the Saudi Equestrian Fund, the Layan Cultural Foundation and Juddmonte Farms. In association with the Saudi Commission for Tourism & Antiquities.
The domestication of the horse more than 5,000 years ago dramatically changed human history. Domestication is thought to have first happened on the steppes of South Russia with horses being introduced into the Middle East around 2,300BC. Before this introduction, asses and donkeys were used for transport, predominantly as harness animals pulling cumbersome but technologically advanced vehicles — as seen on objects found at the Royal Cemetery of Ur -but gradually horses became the means of faster transportation for these early societies.
The exhibition includes one of the earliest known depictions of a horse and rider: a terracotta mould found in Mesopotamia (Iraq) dating to around 2,000 – 1,800 BC. Horses became a vital component in warfare and hunting, as reflected in the art of ancient Assyria, where elaborate and ornate horse trappings and ornaments were developed reflecting the prestige and status of horse, charioteer and rider.
Riding became an essential part of society during the Achaemenid period (5th -4th century BC), a cylinder seal of Darius, dating to 522 – 486 BC shows the king hunting lions in a chariot, and famously, the Achaemenid’s introduced ‘post horses’ which were used to deliver messages on the royal road. The horsemen of the Parthian Empire (3rd century BC – 3rd century AD) were celebrated by Roman authors for the ‘Parthian shot’, in which an apparently retreating rider would shoot arrows backwards whilst on horseback. The renown of Parthian horsemen is shown in their representation on terracotta plaques and bronze belt buckles in the British Museum collection.
Arabic, Persian, Turkish and Mughal miniature paintings, ceramics and manuscripts all attest to the growing importance of the horse in the Islamic world from the 7th century AD. Exquisite Mughal miniatures depict princes with their valued Middle Eastern steeds, horses that were famed for their speed and spirit. A magnificent Furusiyya manuscript, dating to the 14th century AD, on loan from the British Library, is a beautifully illustrated manual of horsemanship, including information on proper care for the horse, advanced riding techniques, expert weapon handling, manoeuvres and elaborate parade formations.
The horse has a long history on the Arabian Peninsula, becoming an important cultural phenomenon and a noted part of the traditional Bedouin way of life. The ‘Arabian horse’ was developed through selective breeding, and with features including a distinctive head profile and high tail carriage, the Arabian is one of the most familiar horse breeds in the world. The exhibition includes ‘Gigapan’ panorama photography of rock art which show horses in scenes of various dates from sites in Saudi Arabia, as well as loans of objects from Qaryat al-Fau which include wall paintings and figurines.
The importance of fine horses in the Middle East is explored through the fascinating Abbas Pasha manuscript (dating to the 19th century and on loan from the King Abdulaziz Public Library, Riadyh). This document is the primary source of information about the lineage of the purebred Arabian horses acquired by Abbas Pasha (the viceroy of Egypt) throughout the Middle East.
The story of the Arabian breed of horse is examined in parallel to that of Wilfrid Scawan Blunt (1840-1922), poet and agitator, and Lady Anne Blunt (1837-1917), the granddaughter of Lord Byron. The Blunts travelled widely in the Middle East and established a celebrated stud for purebred Arabians, which was crucial for the survival of the Arabian breed, at Crabbet Park in Sussex, and another outside Cairo in Egypt.
Horses, including Arabians had long been imported from the Middle East to Britain, but from the 17th century, three Arabian stallions in particular were introduced, which, bred with native mares, produced the Thoroughbred breed, now the foundation of modern racing; some 95% of all modern Thoroughbreds are descended from these three horses. Paintings and prints, trophies and memorabilia explore their remarkable success and their influence on sport and society, from early race meetings through to modern equestrian events.
Faissal Ibn Abdullah Ibn Muhammad Al-Saud, Minister of Education and Chairman of the Board of Trustees of the Saudi Equestrian Fund said "It is well known that the horse has played a crucial role in the development of civilization, and that a close bond exists between horses and men. I am very pleased that it has been possible to support this exhibition in London which gives us an opportunity to look at different aspects of the history of the Arabian horse and the context from which it emerged."
The exhibition runs until 30 September 2012 and is part of the celebrations for the Diamond Jubilee.
You’ve got questions. Heart Friend has answers. Who’s the go-to for relationship and dating advice? Heart Friend of course. He’s the love guru. He’s been there and done that. He’s got all the answers to all of your questions. All the time.
For the first time, Zoosk is celebrating their fans with “Zoosk Presents: From the Heart,” a social campaign that puts the fans in the spotlight.
On Facebook they prompted it's community to pose questions to Heart Friend by simply replying on the Facebook wall.
They selected the best fan submitted posts and Heart Friend answered them in a series of video responses. Each selected question is featured in the video responses and the fan is called out by name by the Heart character. Of course, this is not your grandmother's dating advice.
The campaign runs for 6 weeks with a new question answered each Sunday night on the Zoosk Facebook page, and Youtube.
Zoosk began its YouTube-only video push just this year. In one ad, a sassy red heart plush pal tries to convince Liz to check out guys on the dating site who fit her description of a dreamy mountain man. Some campaign executions have gone viral, with one ad reaching more than 14 million YouTube views.
Credits: Advertising Agency: Camp+King Roger Camp — CCO / Partner Jamie King — CEO / Partner Adam Koppel — Creative Director Rikesh Lal — Creative Director Casey Brewer — Associate Creative Director Dan Korn — Art Director Kyle Davis — Copywriter Dora Lee — Director of Digital Production Molly Lewis — Brand and Strategy Director Alec Black — Brand Manager Anne Tway — Strategy Director
Production Company: In-house Casey Brewer — Director Dora Lee — Executive Producer Juliette Tang — Production Manager Nelsen Brazill — Director of Photography Dan Korn — Production Designer
Editorial Company: Umlaut Films Doug Cox — Editor Gina LoCurcio — Executive Producer Kelly Gibbs — Producer Ivan Miller — Colorist / Effects Supervisor
Inpress Hakuhodo have shown real prospects of development and growth in advertising of building corporation i-Rise.
Innovative architecture in the United Arab Emirates
Building in the United Arab Emirates — the branch, developing mad rates. All most courageous design and architectural decisions find an embodiment here. The company i-Rise, engaged in design & architectural designing, invites to work of arrogant and talented experts.
Powerful shade
Stylish prints of the company display work prospects in i-Rise: the figures having small value, reject much more powerful shade.
All around the hull of the longest Viking warship ever found there are swords and battle axes, many bearing the scars of long and bloody use, in an exhibition opening in Copenhagen that will smash decades of good public relations for the Vikings as mild-mannered traders and farmers.
A violent animated backdrop to a reconstructed Viking warship [Credit: Guardian]"Some of my colleagues thought surely one sword is enough," archaeologist and co-curator Anne Pedersen said, "but I said no, one can never have too many swords."
The exhibition, simply called Viking, which will be opened at the National Museum by Queen Margrethe of Denmark on Thursday, and to the public on Saturday, will sail on to to London next year to launch the British Museum's new exhibition space.
In contrast to recent exhibitions, which have concentrated on the Vikings as brilliant seafarers, highly gifted wood- and metal-workers, and builders of towns including York and Dublin, this returns to the more traditional image of ferocious raiders, spreading terror wherever the shallow keels of the best and fastest ships in Europe could reach, armed with magnificent swords, spears, battleaxes and lozenge-shaped arrows. "The arrow shape did more damage," Pedersen explained, "the wounds were bigger and more difficult to heal than a straight-edged slit."
Other powers employed the fearless warriors as mercenaries, including Byzantium and Jerusalem, but some were anxious to keep weapons of mass destruction out of their hands: a Frankish law forbade selling swords to Vikings. They got them anyway, as the exhibits prove.
A skull from a grave in Gotland bears the marks of many healed sword cuts, but also decorative parallel lines filed into the warrior's teeth, like those recently found on teeth from a pit of decapitated bodies in Dorset, in what must have been an excruciating display of macho bravado.
"Probably only a small percentage of the Vikings ever went to sea on raiding parties, but I think those who stayed home would have told stories of great warriors, great ships and great swords they had known," Pedersen said. "It was very much part of the culture."
Some of the objects assembled from collections in 12 countries, such as a heap of walnut-sized pieces of amber, or jewellery made to incorporate Islamic and Byzantine coins, probably did come through trade. Others, such as a pair of brooches from the grave of a Viking woman made from gold intricately twisted into tiny animals, originally panels chopped up from a shrine made in Ireland to hold the relics of a saint, certainly were not.
One magnificent silver collar found in Norway has an inscription in runes saying the Vikings came to Frisia and "exchanged war garments with them" – but that may be a black joke. Iron slave collars from Dublin confirm that the wealth they sought wasn't always gold and silver.
This is the largest Viking exhibition in more than 20 years, bringing together loans from across Europe, including hoards from Yorkshire, Norway and Russia, a silver cross and a diminutive figure of a Valkyrie, a mythological battlefield figure, both found in Denmark only a few months ago. Loans from Britain include some of the famous Lewis chessmen carved as fierce Viking warriors, biting on the edge of their shields in an ecstasy of rage.
The most spectacular object, fitting into the gallery with just 1.7 metres (5ft6in) to spare – the new space in Bloomsbury has already been measured carefully – is the sleek, narrow hull of the longest Viking warship ever found, specially conserved for the exhibition and on display for the first time. Just over 36m in length, it was built to hold at least 100 men on 39 pairs of oars.
The ship was found by accident at Roskilde, home of the famous Viking ship museum. The museum was built 50 years ago to hold a small fleet of Viking boats that were deliberately sunk 1,000 years ago to narrow and protect the approach to the harbour. In the 1990s, workers building an extension chopped through the massive timbers of what turned out to be nine more ships, including the awesome length of the warship, estimated to have taken around 30,000 hours of skilled labour to build: only a king could have afforded such a vessel.
Recent scientific tests show it was built from oak felled in 1025 near Oslo, probably for King Cnut the Great – the sea-defying Canute to the English – who conquered England in 1016, and Norway in 1028. Only a quarter of the timbers survived, but they included the entire length of the keel.
Although the exhibition includes sections on Viking politics, strategic alliances through marriage and trade, and beliefs including the contents of the grave of a sorceress with her iron magic wand and little pots of narcotic drugs, the warlike tone was dictated by the ship, which was itself a weapon of war. Vikings sang about ships – one refers to a new ship as "a dragon" – played as children with toy ships and, if rich enough, were eventually buried in ships.
The displays and some of the contents will change in London, but in Copenhagen the ship is spectacularly displayed against an animated backdrop of stormy seas and a ferocious raid that leaves the target settlement in flames.
The animation was made in the United States and the Danish team was initially dismayed as it appeared to show raiders attacking a much later medieval walled town. Eventually, curator Peter Pentz said, a Hampshire site saved the film: they agreed it was plausible that the towers and curtain walls could represent the ruins of a Roman shoreline fort, such as Portchester castle near Portsmouth.
As well as the swords, some bent like a folded belt to destroy their earthly use as they went into a warrior's grave, there is one unique weapon, a battleaxe with an intricately decorated golden shaft. Such golden axes are described in the sagas, but this, from a settlement in Norway, is the only real example ever found.
"I think the main point was to impress, not to kill somebody," Pedersen said, adding with satisfaction: "but you can kill somebody with it if you want.
Viking, National Museum of Denmark, Copenhagen, until November 17 2013
Author: Maev Kennedy | Source: The Guardian [June 19, 2013]
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