Stephen Fennis

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• Runtime - 74min
• Countries - USA
• Resume - A new feature film documentary about legendary NYTimes photographer Bill Cunningham
• release Date - 2018
• Writed by - Mark Bozek

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I was skeptical about another Bill Cunningham documentary. I mean, Richard Press’s Bill Cunningham: New York (2010) was so good, why would you even bother? Cunningham’s pretty charming, but he is, after all, a fairly insignificant figure?he was just a staff photographer for the Times, right? And indeed, the film does cover mostly the same ground as its predecessor. As an aesthetic object, admittedly, it’s not particularly imaginative. Director Mark Bozek presents us mostly with Cunningham’s voice and Cunningham’s images. And yet, surprisingly, I enjoyed and was moved by this movie more than by almost any of the other films I saw at the festival ? because it gave us the portrait of a vibrant human intelligence. And what should art be, other than that? The movie’s structure is simple: Bozek had interviewed Cunningham on video once back in 1994. Originally planned as just a simple ten-minute talk, Cunningham began with some wisecracks about how even that was too much time to spend on someone as trivial as him, but then he started to talk. And talk. Bozek wisely chose to organize the project almost exclusively around Cunningham’s voice, with hundreds of accompanying images. But, while such a simple premise makes the film fairly uncinematic?as we’ve come to understand that term?it also condenses the movie to its bare essentials. Like a Japanese rock garden, it focuses our attention on the only thing that matters: Cunningham’s personality. And as with Press’s film, Cunningham’s persona vibrates with an exuberant, magnetic energy. Bozek, as Press did, highlights Cunningham’s infamously austere life?how he was raised in a devoutly conservative, working-class Catholic family; how his intense fascination with women’s fashion from an early age strained his relationship with his parents; how he lived for fifty years in a small studio apartment, sleeping on a skinny mattress he laid out on top of a row of boxes, surrounded by towering filing cabinets; how he worked seven days a week; how he never fell in love. And yet at the same time, he comes across as one of the most joyous people you’ve ever met: he has an infectious, enthralling laugh. When he speaks, his eyes light up; in fact, they gleam. He has expressive eyebrows. His cheeks seem wrinkled from smiling too often and too broadly. He has great big teeth like a goofy chipmunk. But then, when Bozek poses a seemingly innocuous question, Cunningham has to bend over so that the camera won’t catch the tears that have gushed forward suddenly from some unseen depths. I was entranced by?and jealous of?Cunningham’s ability to live with emotion so brazenly on the surface. But though fans of the earlier film talked a lot about Cunningham’s intensity, they haven’t talked enough, it seems to me, about his intelligence, about his stridency and conviction. Despite his avowed shyness, he speaks with clarity and absolute self-assurance. He refers to himself repeatedly not as a photographer, but as a fashion historian. He knows the work of important designers intimately, tosses off assessments of his favorite fashion shows, and speaks eloquently about the work of lesser-known figures like Stephen Burrows. And he has a clear vision?not just of fashion’s aesthetics but of its politics as well. He doesn’t care for the business side of the industry and he’s ultimately not that interested in the work of designers: no, he’s interested in women, how women use clothes to express themselves in the world, how they mix and match and reassemble the work of others, how they become the artists of their own identities, how they fashion themselves in the public sphere. I say that he’s political because his is a democratic vision. On the one hand, he values artistry that bubbles up from vernacular culture rather than trickling down from the mind of an oracular aesthete, and on the other hand, he sees fashion as a force that, surprisingly, helps shape and define communities. In his own mind, this democratic vision is an essentially?and proudly?American stance. As he points out, movingly, about his experiences documenting decades of gay pride parades?where else on Earth could this phenomenon have emerged? Certainly not in Europe, the avowed Francophile says disdainfully, and accurately. It’s entirely appropriate, then, that Cunningham did his best work as a street photographer, since the street is the most democratic staging ground for the public’s vision of itself. Dressing up, he maintains, is what you do to make yourself feel good before you go out?so fashion is a means of self-expression, but also a way of presenting yourself to a larger community, a way of legitimizing your membership in that community. It’s no coincidence, then, that Bill organized his famous photo spreads in the Sunday edition of the New York Times around themes?three dozen people wearing ice blue, two dozen women sporting poofy coats emblazoned with flowered prints?so that it was never just a collection of colorful eccentrics, but always the portrait of the city at large flaunting the same style, always arranged in symmetrical patterns, rhyming and echoing with each other, always emphasizing that ostentatious idiosyncrasy is, surprisingly, just a way of being a part of the crowd. Cunningham never sees just one image, but always a profusion of images, always a riot of similarity?a bevy of chrome-colored skirts; a gaggle of fluorescent-lime pocket squares; ?a pattern of wispy, translucent, windblown skirts; an agglomeration of timpani-sized, seashell-shaped black leather handbags?as if the street was bursting with shared passion, as if the city itself?through some form of osmosis?had been secretly and continuously evolving a communal set of values, but that no one was aware of it until Cunningham himself made our collective passion for expressive daring and verve visible to us. His is a utopian, democratic creed. As a talking-head, voice-over type documentary, I don’t think this movie is going to win any awards. ? But it resonated with me. So many of my other smart friends whose tastes I admire and respect were raving about Bi Gan’s Long Day’s Journey into Night, but I just couldn’t get into it. That film is this movie’s antithesis. Where this movie is small, discreet, and uncinematic, Bi Gan’s movie boldly manifests film’s specific aesthetic techniques: he quite obviously set himself the goal of creating the single most complicated tracking shot in the history of cinema, as if he envisioned himself battling Aleksandr Sokurov’s Russian Ark in some sort of mixed martial arts bout. To my mind, it was one of the single most calculated movies I’ve ever seen, as if he’d meticulously organized a formula to make a name for himself on the international film festival circuit. By doing so, he seems to have impressed a lot of people; but he’s also made a work of art devoid of human feeling, which is, as far as I’m concerned, not a work of art at all. But The Times of Bill Cunningham ?exactly like its predecessor Bill Cunningham: New York ?reminded me of the values of being unoriginal, of being aesthetically self-effacing. Being unoriginal is a way of joining a larger community, of embracing the democratic spirit. Sometimes the most beautiful movies are those that forgo cinematic qualities all together. Sometimes the best films embrace the most minimalist vision of the cinema, that of transparency: they are merely windows through which we can witness a subject?in this case, an animated human being, an artist, a historian, a philosopher, a weathervane of our noblest aspirations.
This is amazing. RIP Bill Cunningham. He is so wonderfully unguarded in this talk, a true historian for the designer fashion industry and streetwear that influences it, love, love him. Free watch the times of bill cunningham 2017. She needs to get out of Vogue. Free Watch The Times of Bill cunningham.
Sad news from the NY Times: legendary street fashion photographer Bill Cunningham has died today at the age of 87. In his nearly 40 years working for The Times, Mr. Cunningham operated both as a dedicated chronicler of fashion and as an unlikely cultural anthropologist, one who used the changing dress habits of the people he photographed to chart the broader shift away from formality and toward something more diffuse and individualistic. At the Pierre hotel on the East Side of Manhattan, he pointed his camera at tweed-wearing blue-blood New Yorkers with names like Rockefeller and Vanderbilt. Downtown, by the piers, he clicked away at crop-top wearing Voguers. Up in Harlem, he jumped off his bicycle ? he rode more than 30 over the years, replacing one after another as they were wrecked or stolen ? for B-boys in low-slung jeans. I saw Cunningham out on the streets of NYC twice and both times chills ran up my back watching a master at work. Unless Cunningham had something in the can before he died, it looks as though the last of his On the Street features is about black and white fashion. Tonight might be a good time to watch the documentary Bill Cunningham New York ? it’s available on Amazon (free with Prime). More about... Bill Cunningham fashion NYC photography.
She lifts us up. Put me through some changes, boy. Oh he's dead. nevermind. but still. Free watch the times of bill cunningham 2016. Wow... a whole bunch of Narcissist women. I used to love this segment but James never says a word about anything. He ALWAYS eats the nasty stuff.
Helloooo Anna Wintor. This is a iconic Steven Klein editorial waiting to happen. Really really enjoyed this, his style seems something different to most, he's not candid or trying to be invisible, he's in peoples way to spark a reaction and capture a certain mood. Some really excellent images here by a very smart photographer.

Imbecile. Free watch the times of bill cunningham youtube. Free watch the times of bill cunningham season. Never have heard you so excited and, well, gleeful. Thank you Ms. Wintour I needed that bit of inspiration and truth from someone that I consider one of my heroines.

Honeys best friend is A JOKE. Sad news Ted. I watched the film a while back and thoroughly recommend it - so uplifting and enjoyable to watch (and I know zero about fashion. Isn't she in the incredibles. Shaun of the Dead (2004) Horror Comedy Shaun lives a supremely uneventful life, which revolves around his girlfriend, his mother, and, above all, his local pub. This gentle routine is threatened when the dead return to life and make strenuous attempts to snack on ordinary Londoners. Shaun of the Dead Solarmovie Solarmovie Score: 7. 5 / 10 from 5185 votes Release Date: 2004-04-09 Status: Released Run time: 99 min / 1:39 Production Studio: De Wolfe Music, Universal Pictures, WT2 Productions, StudioCanal, Working Title Films, Big Talk Productions, Inside Track 2, Film4 Productions Production Country: United Kingdom.

Free watch the times of bill cunningham full. Amazing man. Bye, Bill. Often rather poor Bill, he's too old clearly and doesn't recall how many times this has occurred in fashion since the early 80s. Its a sloppy look and doesn't at all flatter the wearer. and its a bit effeminate when handled even worse than it is, in at least these photos.

Wow, I love these ladies. They are so fun and young at heart. Movies | ‘The Times of Bill Cunningham’ Review: Another New York Snapshot Sarah Jessica Parker narrates a documentary about this former New York Times personality and street photographer. Credit... Harold Chapman/Greenwich Entertainment Feb. 13, 2020, 7:00 a. m. ET The Times of Bill Cunningham Directed by Mark Bozek Documentary 1h 14m Mark Bozek had a no-brainer opportunity when he landed an interview with Bill Cunningham, the New York Times street photographer and self-described “fashion historian. ” Cunningham was renowned for his eye and his minimalist personal style ? a signature blue French worker’s jacket ? and his bicycle, replaced dozens of times over the years, that enabled him to shoot on the go. This talking-head footage is a promising start that ultimately leads to a less than illuminating documentary. Bozek built this movie around that interview, from 1994. It finds its subject animated, punctuating his sentences with a toothy grin as he talks about his Roman Catholic upbringing, his early days at the fashion house Chez Ninon and his humble apartment in the old Carnegie Hall Studios. The film is peppered with rare archival photos ? including many of Cunningham’s own ? and narrated by the New York fashion icon Sarah Jessica Parker (a too on-the-money choice), whose voice-over delivery here lacks her playful “Sex and the City” wink. Bozek’s first feature, which he started working on right after Cunningham’s death in 2016, comes nearly a decade after Richard Press’s superior vérité-style profile, “Bill Cunningham New York. ” While “The Times of Bill Cunningham” touches on many of the same topics, it makes one startling departure with this speculation: “While the attention that was brought to him via a growing number of accolades and a popular documentary in 2011 may have brought him some degree of lifetime achievement, it is more likely he regretted it, ” Parker says in the film. In an attempt to distinguish his documentary from the other, Bozek delivers what feels like an unnecessary low blow. The Times of Bill Cunningham Not rated. Running time: 1 hour 14 minutes.
I like his photos. Free watch the times of bill cunningham tv show. Omg so glad I found this. Free watch the times of bill cunningham book. Nobody wears this stuff. Not the gays. Not the young-uns. Not the elite. If someone does, cool, but it's not news. Most people stop caring about changing fashion with the seasons by the end of their teens.
Is this like the life as an assistant kinda thing. Free watch the times of bill cunningham net worth. I really really love watching these videos. Free watch the times of bill cunningham wife. Free watch the times of bill cunningham band. Beautiful shots. Free watch the times of bill cunningham video.
I love it. Fantastic video. It's great to see everyone's different styles.

Bill be egging it on lmao.

Creator: Greenwich Entertainment
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