《李希特舒眠曲 》 完整版 【Max Richter’s Sleep】电影 完整版完整版

IMDb
台北票房:59,900(台幣)
影片年份:2019
出 品 國:UK
出 品:Globe Productions
發 行 商:造次映畫
語 言:English
色 彩:color
音 效:https://t.co/tH9Tp5Krt5?MaxRichterssleep

𝐕𝐈𝐒𝐈𝐓 𝐋𝐈𝐍𝐊 🎬▶: https://t.co/tH9Tp5Krt5?MaxRichterssleep

李希特舒眠曲 (Max Richter’s Sleep 2020)

劇情簡介
德國古典樂大廠DG旗下最受跨界樂迷擁戴之當代作曲家暨演奏家馬克斯李希特 (Max Richter),首部個人音樂電影。
Max Richter為入睡後聆聽所譜寫的八小時巨作《舒眠曲》,歐美巡迴演奏會現場實況 100 分鐘精華,Max Richter親自導聆,闡述其創作理念與哲思。

李希特舒眠曲,
李希特舒眠曲 完整版,
李希特舒眠曲澳門上映
李希特舒眠曲2020上映
李希特舒眠曲HD線上看
李希特舒眠曲線上看小鴨
李希特舒眠曲电影完整版
李希特舒眠曲線上看下載
李希特舒眠曲2020 下載
李希特舒眠曲線上看完整版
李希特舒眠曲線上看完整版小鴨
李希特舒眠曲(2020)完整版本
李希特舒眠曲|1080P|完整版本
李希特舒眠曲线上看(2020)完整版
李希特舒眠曲線上看(2020)完整版
《李希特舒眠曲》 線上看電影(2020)
李希特舒眠曲(電影)2020年再次觀看電影
李希特舒眠曲線上看|2020上映|完整版小鴨|線上看小鴨|
李希特舒眠曲上看
李希特舒眠曲主題曲
李希特舒眠曲小鴨影音
李希特舒眠曲線上小鴨
李希特舒眠曲完整版本
李希特舒眠曲香港上映
李希特舒眠曲線上看小鴨影音
李希特舒眠曲2020 線上看
《李希特舒眠曲》 2020在线
李希特舒眠曲1080P 下載
李希特舒眠曲免費線上看電影
李希特舒眠曲电影在线2020年
李希特舒眠曲(2020)在线观看
李希特舒眠曲[2020]观看和下载
李希特舒眠曲[2020,HD]观看和下载
李希特舒眠曲singapora(2020) 完整版
李希特舒眠曲線上看| 2020最新電影| 小鴨影音|
李希特舒眠曲免費下載
李希特舒眠曲下載 百度
李希特舒眠曲2020上看
李希特舒眠曲免費線上看電影
李希特舒眠曲-完整版小鴨 HD
李希特舒眠曲線上看(2020)
李希特舒眠曲台灣上映 2020
李希特舒眠曲(2020) 線上看
李希特舒眠曲線上(2020 HD)
李希特舒眠曲2020 電影完整版
李希特舒眠曲2020 線上 完整版
李希特舒眠曲-完整版 小鴨 2020
李希特舒眠曲免費在線觀看(2020)
李希特舒眠曲[2020] 線上完整版
李希特舒眠曲线上看(2020)完整版
李希特舒眠曲線上 [2020] 完整版
李希特舒眠曲(2020)免費線上看電影
李希特舒眠曲線上看線上(2020)完整版
李希特舒眠曲-HD 完整版 小鴨 [2020]
李希特舒眠曲上看2020 HD.BD.1080p
李希特舒眠曲HD|1080p|4K| 香港流媒體
李希特舒眠曲2020完整版 小鴨 (HD.BLURAY)
李希特舒眠曲2020 線上看電影粵語-流-下載完整版本In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross.
The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets.
Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and given freedoms.
Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee.
The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue.
An apt description of the piece is given in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes.
In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife.
The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history).
Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions.
Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income.
In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney).
Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable.
Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message.
Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. …