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可不可以，你也剛好喜歡我 (2020)
可不可以，你也剛好喜歡我 (2020) — 爱情 电影 1:47:31 分钟. 可不可以, 你也刚好喜欢我, 可不可以，你也剛好喜歡我.
发布日期: Aug 21, 2020
运行时间: 1:47:31 分钟
类型: 爱情
明星: Yu-ning Tsao, Chen Yu, Patricia Lin
Crew: Shiue Bin Jian (Director)访问链接 :➠│https://t.co/CiJMMpPGpE?Do-you-love-me
现在观看 :➠│https://watch.123moviesfoxs.com/zh/movie/728669
口碑場日期：08–14 ~08–16
上映日期：2020–08–21
片 長：未提供
發行公司：華映
導演：
簡學彬
演員：
曹佑寧 、 陳妤 、 林映唯 、 黃健偉 、 程予希 、 李杏 、 林鶴軒 、 陳彥名 、 劉名凱
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VISIT LINK :: https://t.co/CiJMMpPGpE?Do-you-love-me
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2020年11月1日，安娜·特雷莎·约翰·霍克（Anna Therese Johanne Hoch）在德国哥达（Goanna）出生，后者后来被称为汉娜·霍克（Hannah Hoch）。这个女孩是五个孩子中的老大，在小镇上一个舒适安静的环境中长大。她的父母，一家保险公司的主管和一名业余画家将她送到了女子高中。但是，汉娜（Hannah）在15岁那年不得不退出学习长达六年之久，以照顾她的新生妹妹。直到1912年，她才在应用艺术学院的Harold Bengen继续她的学业，精通玻璃设计。第一次世界大战爆发后，汉娜回到了故乡，在红十字会工作。
战争结束后的第一年，年轻女子开始了她的学习，开始了解图形艺术。 1915年与奥地利艺术家劳乌尔·豪斯曼（Raoul Hausmann）结识，突显了这种长久的浪漫关系并参与了柏林达达运动。直到1926年，霍赫（Hoch）都在柏林的主要报纸和杂志出版商工作了十年。她的任务是为小册子设计绣花，编织和钩编图案。
汉娜（Hannah）在1918年与她心爱的人一起度假时，发现了“在士兵们发送给家人的剪贴图像中，蒙太奇的原理”（国家美术馆）。这一发现极大地影响了她的艺术创作，她创作了包括蒙太奇和手工图案元素在内的大众传媒照片，从而将传统与现代文化融合在一起。她先前的工作重点是以崭新的社会角色和自由赋予代表魏玛共和国的“新女性”。
霍赫（Hoch）是柏林达达（Derlin Dada）唯一的女性，她参加了各种活动和展览，展示了她对社会至关重要的艺术作品。直到1931年，她都参加了展览，但是随着国家社会制度的兴起，她被禁止展示自己的创作。汉娜·霍克（Hannah Hoch）直到1978年最后一次呼吸时，都在柏林-海利根湖（Eligensee）的郊区生活和工作。
在这项研究中将要分析的艺术品是1919年至1920年设计的“美丽的女孩”。它结合了技术元素和女性元素。在图片的中间，可以清楚地看到一个穿着现代泳衣的女人，她的头上有一个灯泡，可能是一把太阳伞。在背景中展示了一个大型广告，上面是一个女人的发型。莫德·拉文（Maud Lavin）将陌生人形容为“她是人，机器，商品”（拉文）。女人被轮胎，齿轮，信号和宝马标志等工业化图像所包围。右上角有一只猫眼的女性形象，不信任和怀疑，也很引人注目。这只异常大的眼睛象征着DADA运动-单片眼镜，几乎在所有Hoch的作品中都存在。配色方案不提供丰富的色调，主要包括黑色，白色，橙色和红色。这张照片被BMW圆圈包围，其中添加了蓝色斑点。
在“用厨房刀切”一书中对这件作品进行了恰当的描述，并指出这是“由女性气质，技术，媒体和广告的标志所定义的现代女性肖像”（拉文）。换句话说，汉娜·霍奇（Hannah Hoch）专注于新时代的女人，自由自在，并能跟上快速发展的世界。这位艺术家提倡女性主义思想，并从她的角度出发，城市化和现代技术旨在赋予女性希望获得性别平等的希望。她用这张蒙太奇照片评论了在工业化世界中，如何期望妇女将妻子和母亲的角色与工人的角色相结合。灯泡代替了脸，表明女性被认为是没有思想的机器，不会质疑自己的位置，可以随时随心所欲地打开或关闭。但同时，它们也要保持吸引力以满足男性的需求。手表被视为女性适应变化的速度的代表。
简而言之，Hoch专注于现代女性的两种截然相反的观点：电视屏幕上的一种观点-吸烟，工作，穿着性感的衣服，投票和仍然是家庭主妇的真实观点。
美丽的姑娘是DADA运动中艺术的典范。随着对第一次世界大战的反应，艺术和字面意义的潮流始于1916年，并在北美和欧洲传播。每一项公约都受到挑战，资产阶级社会遭到丑闻。达达主义者说，现代文化中对合规性，阶级主义和民族主义的高估导致了第一次世界大战的恐怖。换句话说，他们拒绝了逻辑和理性，转向了非理性，混乱和胡说八道。首届DADA国际博览会于1920年在柏林举办，揭露了人们对军事和德国民族主义的不满（达达，已有5分钟的历史）。
汉娜·霍奇（Hannah Hoch）由劳乌尔·豪斯曼（Raoul Hausman）引入DADA的世界，他与库尔特·史维特（Kurt Schwitters），皮特·蒙德里安（Piet Mondrian）和汉斯·里希特（Hans Richter）一起是该运动中有影响力的艺术家之一。霍赫成为唯一提到DADA的德国女性。她设法遵循了达达主义的普遍审美观，但与此同时，她又坚定而坚定地采纳了女权主义哲学。她的目标是在其他DADA概念的画布中实现女性平等。
尽管汉娜·霍奇（Hannah Hoch）正式成为该运动的成员，但她从未成为真正的运动者，因为男人只把她视为“一位迷人而有天赋的业余艺术家”（拉文）。非官方发言人汉斯·里希特（Hans Richter）通过以下话表达了他对社区中唯一女性的看法：“那个以有限的预算生产三明治，啤酒和咖啡的女孩”忘记了她是少数收入稳定的成员。
尽管有性别上的压迫，汉娜传达自己想法的愿望从未减弱。困难使她更加坚强，使她成为了杰出的艺术家。在她的所有物品中发现了带有这些返回词的便条：‘这些男人中没有一个对普通女人感到满意。但是他们都没有包括放弃对女人的（传统）男性/男性道德。在弗洛伊德的启发下，抗议老一辈。 。 。他们都渴望这个“新女人”以及她对自由的开创性意志。但是-他们或多或少地残酷地拒绝了他们也必须采取新态度的观点。 。 。这导致了这些真正的斯特林堡戏剧，代表了这些人（马洛尼）的私生活。
霍赫（Hoch）的技术特点是融合了来自不同时代的男性或女性身体部位，即“传统”女性和“现代”女性，她们解放了并且没有性定型观念。此外，将男性和女性部分结合在一起，女性部分总是更加独特和充满活力，而男性部分则在背景中占据了位置。汉娜创作了独特的艺术品，尝试了绘画，拼贴画，图形和摄影。她的女人是用洋娃娃，新娘或儿童模特儿的零碎物品制成的，因为这些社会成员被认为没有价值。
如今，汉娜·霍克（Hannah Hoch）与她著名的蒙太奇电影“用菜刀DADA切入德国最后一个魏默啤酒-肚皮文化时代”（1919–1920）最为相关。这件艺术品强调了魏玛共和国时期的社会混乱，反对派和政府激进分子（格拉布纳）。尽管从未真正地被社会的其他人所接受，但是这位安静的女人还是设法大声说出了她的女性信息。
第一次看Hannah Hoch的艺术时，我感到困惑，因为无法理解其中的含义。很明显，每个部件和结构都是该时代及其思想和信念的象征。但是，在了解了自己的生活并不断地宣布女性的权利后，我逐渐意识到了什么。作为研究的对象，我选择了“美丽的女孩”，因为在我看来，它的主题和信息与现代趋势相交：成功，聪明，美丽和自由的女人必须立即成为一个女人，因为世界在变化快点，再快一点。我喜欢和这位艺术家一起工作，因为她的榜样令人鼓舞，值得关注
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.
