角頭浪流連線上看 — 高清完整版小鴨2021~HD/TW
◉角頭–浪流連2021🎬 高清線上看完整版 ☛ https://t.co/zOp8p60QOB?amp=1Last~Stray
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𝐇𝐃➤➤【角頭–浪流連Gatao — The Last Stray】 線上看 完整版~[電影,(2021]~电影完整版
角頭–浪流連線上看小鴨完整版-[Gatao — The Last Stray]HK-TW’
看 完整版 ~角頭–浪流連 《Gatao — The Last Stray Tw》 線上看電影臺灣 — TV动画续篇，剧场版《Gatao — The Last Stray》
角頭–浪流連Gatao — The Last Stray
上映日期：2021–02–05
片 長：02時00分
發行公司：威視股份有限公司
導演：姜瑞智
演員：鄭人碩(Cheng Jen-Shuo) 、 謝欣穎 、 柯叔元 、 曾莞婷 、 陳竹昇(Bamboo Chen) 、 古斌 、 黃尚禾(Shang-Ho Huang) 、 唐振剛 、 張再興 、 吳震亞 、 王宣 、 高捷(Jack Kao) 、 龍劭華
《Gatao — The Last Stray 角頭–浪流連》 角頭–浪流連的剧情简介
在北关一角，大哥任革的女儿的满月宴会上，一位青人遇到了摄影师肖琪。他们彼此相爱。但是，可悲的是，他们最终无法在一起。
角頭–浪流連 ~完整版在線 (2021-HD) 完整版觀看角頭–浪流連小鴨 完整的電影 [4K]
角頭」首集票房突破8000萬，續集「角頭2：王者再起」票房則達1.2億，這次再推出「角頭－浪流連」，張威縯表示，比起票房更希望能展現出創造「角頭」宇宙的成功，希望能將IP延續，「讓接下來要演出的演員都能更有信心。」張威縯透露影集的劇本已大致完成，春節後就會和演員確定拍攝檔期。
「角頭2：王者再起」後人氣快速竄升的鄭人碩立下豪語若「角頭－浪流連」票房7天內能破億，將開放10個名額做「阿慶之吻」，鄭人碩表示，「疫情期間當然會有特殊處理方式，做好做滿，期待有機會完成這個計畫。」
陳竹昇片中飾演警察，與鄭人碩有精彩對手戲，陳竹昇表示，「站在警察的角度，其實黑白兩道雖然不同，但生存之道卻是一樣的，在電影裡站在一個警告女主角不要輕易與不同世界交往的角色，有很多橋段是可以讓很多年輕人在踏進不歸路之前多多思考。」
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➤角頭–浪流連線上看完整版小鴨 (中文版) ~ 《Gatao — The Last Stray -2021》 台灣版 (中文配音)
𝐇𝐃➤➤【角頭–浪流連Gatao — The Last Stray】 線上看 完整版~[電影,(2021]~电影完整版
《角頭》系列作品不斷警惕世人「今天公祭，明天忘記」、「歹路不可行」。而《角頭－浪流連》則以女性、愛情的角度切入，讓觀眾以不同的視角，卻更加看清這個混沌的角頭世界。
故事描述阿慶（鄭人碩 飾演）在北館角頭大哥仁哥的女兒滿月宴上，偶遇攝影師小淇（謝欣穎 飾演）進而衍生出一段相愛卻不能相守的愛情故事。
身為角頭的阿慶遇到了小淇，原本水火不容的兩人，再一次次的爭吵中發現其實自己最在乎對方。阿慶與小淇相愛、相知、相惜、互相扶持，阿慶為小淇解決困難、小淇在阿慶事業遇到瓶頸時給予鼓勵。但就在此時湳沆的世界在背地裡陷害北館販毒，不僅讓北館深陷危機，仁哥與五虎們相繼誤解阿慶，小淇也因為阿慶受重傷。阿慶分身乏術，痛定思痛決定奮力一搏
角頭–浪流連線上看小鴨完整版-[Gatao — The Last Stray]HK-TW’
身为角头的阿庆(郑人硕 饰)在北馆角头大哥仁哥的女儿满月宴上,偶遇摄影师小淇(谢欣颖 饰),原本水火不容的两人,在一次次的争吵中发现其实自己最在乎对方。阿庆与小淇相爱、相知、相惜、互相扶持,阿庆为小淇解决困难、小淇在阿庆事业遇到瓶颈时给予鼓励。但就在此时湳沆的世界在背地里陷害北馆贩毒,不仅让北馆深陷危机,仁哥与五虎们相继误解阿庆,小淇也因为阿庆受重伤。阿庆分身乏术,痛定思痛决定奋力一搏。
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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 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. I enjoyed working with this artist as her example is inspiring and is worth following.
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