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Publish Date : 2020-12-28


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导演皮特*多克特
由达纳*默里制作
剧本由
Pete Docter
迈克*琼斯[1]
肯普权力
蒂娜*菲[2]
故事由皮特*多克特
主演
杰米*福克斯
Tina Fey
Questlove
拉沙德
Daveed Diggs
安吉拉*巴塞特
音乐由
Trent Reznor
阿提克斯*罗斯
生产
公司简介
华特迪士尼图片
皮克斯动画工作室
由华特迪士尼工作室分发
电影
发布日期
十一月20,2020(美国)
国家美国
语言英语

灵魂是即将到来的2020美国电脑动画喜剧电影由沃尔特*迪斯尼影业和皮克斯动画工作室制作,由沃尔特*迪斯尼工作室电影发行。 它由皮特*多克特执导,由肯普*鲍尔斯共同执导,由多克特,鲍尔斯,迈克*琼斯和蒂娜*菲的剧本。 这部电影主演杰米*福克斯,壮举,Questlove,Phylicia Rashad,Daveed Diggs和Angela Bassett的声音。

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《靈魂奇遇記Soul》(英語:Soul)是一部於2020年上映的美國心理驚悚片,改編自DC漫畫旗下的同名角色,由陶德·菲利普斯執導並與史考特·席佛共同編劇,瓦昆·菲尼克斯、勞勃·狄尼洛、薩琪·畢茲、比爾·坎普、法蘭西絲·康諾和布雷特·庫倫主演。
自2014年,菲尼克斯對一部關於漫畫反派的低預算電影感興趣。在決定該片獨立於目前的DC擴展宇宙(DCEU)後,華納兄弟和DC影業於2017年8月宣布了以靈魂奇遇記Soul為中心的電影計劃,由菲利普斯執導和製片,並與席佛共同編寫劇本。其劇本靈感來自馬丁·史柯西斯的電影《計程車司機》、《蠻牛》和《喜劇之王》。主體拍攝在2018年9月於紐約市進行。
《靈魂奇遇記Soul》由華納兄弟定於2020年10月4日在美國上映。
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導演陶德菲利普斯,瓦昆菲尼克斯主演DC靈魂奇遇記起源電影。社會邊緣人亞瑟佛萊克,他如何從一個失敗的喜劇演員,一步一步成為高譚市最邪惡、最頂尖的超級罪犯。
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导演: 彼特·道格特 / 坎普·鲍尔斯
编剧: 彼特·道格特 / 麦克·琼斯 / 坎普·鲍尔斯
主演: 杰米·福克斯 / 蒂娜·菲 / 约翰·拉岑贝格 / 戴维德·迪格斯 / 菲利西亚·拉斯海德 / 更多…
类型: 科幻 / 动画 / 音乐 / 冒险
官方网站:
制片国家/地区: 美国
语言: 英语
上映日期: 2020–12–25(中国大陆/美国网络) / 2020–10–11(伦敦电影节)
片长: 100分钟
又名: 灵魂奇遇记(港) / 灵魂急转弯(台) / 灵魂 / 心灵
概要
主角Gardner是一个生活很容易看穿的中学音乐老师,而他真正的梦想是弹钢琴 — — 不是像他现在做的一样只教孩子们弹钢琴,而是以做音乐、做爵士乐来谋生。当他终于拿到人生第一份音乐人的工作,却不小心掉进了下水道“死”了,并在一个黑洞中醒来,成为了一个孤独的灵魂。
不久,它发现自己不是独自一魂,而是到了YOU研讨会,另一个外号叫22的灵魂已经参加了研讨会数百年,它极度憎恨人类,一直未去附体。很快的,Gardner和22一起回到现实世界,在那里,Gardner将学会“有了灵魂”真正的含义
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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 opini



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