气球 ➤ 在线观看[气球]完整版电影[4K]**

【气球】▷完整電影版[2020]-[Balloon]線上看完整版 — 【气球】▷完整電影版[2020]-[Balloon]線上看完整版 — (2020年電影)ZH||气球 完整版 “Balloon” 完整版『TW電影』 — 『TW電影』气球Balloon完整版
故事描述一群探險家運用新發現的蟲洞,計劃一場遠超越過去人類太空旅行極限,展開一場遙遠距離的星際航行。該片請來蟲洞理論大師基普索恩作為顧問。主要演員包含馬修麥康納、安海瑟威、潔西卡雀絲坦及米高肯恩。

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《全面啟動》克里斯多福諾蘭執導科幻作品,適宜人類居住的星球近在呎尺,能拯救我們免於滅亡?一群探險家扛起人類史上最重要的任務:越過已知的銀河,在星際間尋找人類未來的可能性。
片長:169分 上映日期:2020/10/08 廳數 (37) 台北票房:13,360萬

劇情簡介
本片獲得2015奧斯卡五項提名,包括最佳視覺特效、最佳妝髮、最佳場景設計、最佳混音 、最佳音效剪輯。《全面啟動》克里斯多福諾蘭執導最新科幻作品,弟弟強納諾蘭操刀編劇,由馬修麥康納、安海瑟薇、麥特戴蒙主演,以世界末日為主軸,故事結合科幻、人性、親情和冒險等元素,透過迷人的太空景象呈現嚴肅議題。
由於地球即將毀滅,一群探險家扛起人類史上最重要的任務:越過已知的銀河,在星際間尋找人類未來的可能性。
未來地球的劇烈氣候變化已影響到農業,地球上的農作物難以種植。一隊探險者作為「拯救人類未來計劃」成員,根據理論物理學家基普·索恩的理論,突破科學極限、穿越「蟲洞」進行時間旅行、到太空尋找其他可以種植的農作物…
馬修與安海瑟薇登陸不同的星球探測有機體,遭遇巨浪海嘯來襲;執行任務時,多次面臨個人存亡與拯救地球的掙扎,馬修與女兒的親情刻劃也是重頭戲,片中浩瀚壯麗的宇宙美景令人嚮往。
片中大約有70分鐘IMAX攝影機拍攝的畫面,而加州理工學院物理學家基普索恩也參與劇本創作,他對蟲洞和時間旅行的研究為本片增添不少科學依據。諾蘭御用藝術指導內森·克勞利表示,劇情還涉及黑洞原理、相對論和萬有引力等許多科學概念。
电影
电影,也称为电影,电影或运动图片,是一种视觉艺术形式,用于模拟通过使用运动图像传达思想,故事,感知,感觉,美感或氛围的体验。这些图像通常伴随有声音,而很少有其他感觉刺激。[1] “电影”一词是电影摄影术的缩写,通常用来指电影制作和电影业,以及由此产生的艺术形式。
影片的运动图像是通过以下方式创建的:使用电影摄影机拍摄实际场景,使用传统动画技术拍摄图画或微型模型,借助CGI和计算机动画,或者将其中一些或全部技术结合使用,和其他视觉效果。
传统上,胶片是通过光化学过程记录在赛璐cell胶片原料上,然后通过电影放映机显示在大屏幕上。当代电影通常在制作,发行和展览的整个过程中都是全数字的,而以光化学形式记录的电影传统上包括类似的光学配乐(口语,音乐和其他声音的图形记录,伴随着运行的图像)沿着电影的一部分专为它保留,并且不放映)。
电影是由特定文化创造的文化文物。它们反映了这些文化,进而影响了它们。电影被认为是一种重要的艺术形式,是大众娱乐的来源,也是一种教育或灌输公民的有力媒介。电影的视觉基础赋予它一种普遍的交流能力。通过使用配音或字幕将对话框翻译成其他语言,一些电影已成为全球流行的景点。
组成电影的单个图像称为帧。在传统的赛璐oid胶片的投影中,旋转的快门会导致黑暗的间隔,因为每帧依次移动到要投影的位置,但是由于所谓的视觉持久性,观看者不会注意到中断。眼睛的来源消失后,它会保留一秒钟的视觉图像。对运动的感知部分是由于称为phi现象的心理效应所致。
“胶片”这个名称源于以下事实:照相胶片(也称为胶卷)历史上一直是记录和显示电影的媒介。单个电影还存在许多其他术语,包括图像,图片显示,运动图像,照片播放和轻弹。在美国,最常用的术语是电影,而在欧洲,首选电影。通常,该领域的常用术语包括大屏幕,银幕,电影和电影院。其中的最后一个通常用作学术文章和评论文章的总称。在早期,有时使用单词表代替屏幕。
历史
*前体
电影艺术借鉴了口述故事,文学,戏剧和视觉艺术等领域的一些较早传统。已经具有运动图像和/或投影图像的艺术和娱乐形式包括:
(-)影子摄影术,可能自史前时代以来使用
(-)camera obscura,一种自然现象,自史前时代以来可能已被用作艺术援助
(-)影子木偶,可能起源于公元前200年左右的中亚,印度,印度尼西亚或中国
(-)魔术灯笼,是1650年代开发的,也用于多媒体幻象表演,该展览从1790年开始在整个19世纪上半叶很受欢迎,并且可以使用机械幻灯片,背投,移动投影仪,叠加,解散视图,现场演员,烟雾(有时会投射图像),气味,声音甚至触电。
电影理论
“电影理论”寻求发展适用于电影艺术研究的简洁系统的概念。电影作为一种艺术形式的概念始于1911年Ricciotto Canudo的《第六种艺术的诞生》。鲁道夫·阿恩海姆(Rudolf Arnheim),贝拉·巴拉兹(BélaBalázs)和齐格弗里德·克拉考尔(Siegfried Kracauer)领导的形式主义电影理论强调电影与现实的差异,因此可以被视为有效的美术。安德烈·巴赞(AndréBazin)对这一理论做出了回应,认为电影的艺术本质在于其机械再现现实的能力,而不是与现实的差异,这引发了现实主义理论。雅克·拉康(Jacques Lacan)的精神分析学和费迪南德·德·索绪尔(Ferdinand de Saussure)的符号学等催生了更多近来的分析,从而产生了精神分析电影理论,结构主义电影理论,女权主义电影理论等。另一方面,在维特根斯坦的影响下,来自分析哲学传统的评论家试图澄清理论研究中使用的误解,并对电影的词汇及其与生活形式的联系进行分析。
行业
电影的制作和展示几乎是在该过程发明后立即成为赢利来源。看到他们的新发明及其产品在法国本土取得的成功后,卢米埃人迅速着手前往欧洲大陆巡回展览,以私人方式向皇室和大众公开展示第一部电影。通常,在每个国家/地区,他们都会在目录中添加新的本地场景,并且很快地,他们在欧洲各个国家/地区找到了本地企业家来购买设备,并对商业上的其他产品进行照相,出口,进口和筛选。 1898年的上阿贝高(Oberammergau)激情戏[需要引用]是有史以来第一部商业电影。随后很快出现了其他图片,而电影成为了一个独立的行业,给杂种杂耍的世界蒙上了阴影。专门成立了专门的剧院和公司来制作和发行电影,而电影演员则成为了主要的名人,并为其表演支付了巨额费用。到1917年,查理·卓别林的合同要求年薪为一百万美元。从1931年到1956年,在引入
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. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. …

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