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Country: China
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Average Rating: 6,9 / 10

Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits 1 H 19minute

Movie stream chinese portrait center. He is a very famous super realistic painter in China. This is just his fast sketching work. Movie Stream Chinese portrait de ce compagnon. Movie stream chinese portrait ideas. Movie stream chinese portrait app. Images from Chinese Portrait ( Wang Xiaoshuai, 2018) A brief sequence in Wang Xiaoshuais new documentary depicts the scene at a Chinese coastal resort. In one shot, a man stands gazing out at the sea while children splash around happily and families lounge on the sand in the background; in another, a middle-aged man wearing swimming trunks and a medallion looks to camera quizzically, with the thoroughly rakish look of an ageing holiday Lothario. These may not be not exceptional images in themselves, but they made me realize that this was something I had never seen in a Chinese film before, documentary or fiction: something as ordinary as people enjoying leisure time themselves on the beach. Its not that Chinese cinema has necessarily been avoiding this aspect of life as too mundane or undramatic, just surely that contemporary life in China is so vast and multifarious that the national cinema may not be able to trawl in all its facets. Nevertheless, this 2018 documentary by “Sixth Generation” director Wang makes a good attempt at doing that. The first great film of this year, arguably, was Wang Xiaoshuais three-hour? So Long, My? Son, which followed a family through three decades of modern Chinese history; although it is only 80 minutes long, his? Chinese Portrait ?is equally expansive, although in a telegraphic, fragmented manner. In its English title, the film presents itself as an overall portrait of a nation, but each single image is itself a portrait?of people, locations, lifestyles, traditions. We see Chinese work, leisure, religion (Buddhist and Muslim) we see industry, transport, agriculture, landscape tamed and in revolt. There are just over 60 main shots in Wangs film?give or take a handful that figure as all but subliminal?nearly all of them locked off, many of them highly composed, even artificial. Shot over 10 years on both film and digital, sometimes emphasizing the portrait aspect by the use of Academy ratio frames with rounded corners?sometimes separated by lengths of leader in various colors?the film offers a range of snapshots of contemporary China. Its hard to resist the allusion to still photography. Wang often poses his subjects in stationary groups, while a single element in the picture?a chain, a flapping bit of fabric, or an unruly child?moves to remind us that were not looking at stills. These images resemble a set of pictures in a modern photography gallery: most of them have a stillness and composure that makes you want to hold at length on each one before walking on to the next. In some of the larger landscape shots with human figures, you might think of the huge staged compositions of Jeff Wall: a grey vista of tower blocks, with the tiny figure of a street cleaner in day-glo orange wandering in the foreground. The more spectacular images of workplaces?offices, factories, a classroom?have a touch of Andreas Gursky. The images are presented without commentary, explanatory captions, or even subtitles in those sequences that contain dialogue; theres barely any music. This is a country laid out before us, but not with appeal to the touristic eye; the non-Chinese viewer is often left to guess at the exact nature of context and content alike, although nearly all the images are fairly transparent and immediate in their effect. Does it help to know, however, that one shot of the director himself shows him at Tiananmen Square? Another image shows a red-robed Buddhist monk with his back to the camera, facing a range of mountains; flags blow in the breeze, wind is heard in the background. Is this in some way a comment on Chinas relationship to Tibet? One suspects it might be, but the film tells us nothing. This is very much, although not entirely, a film about people. Photographed variously by Wu Di, Zeng Jian, Zeng Hu, and Piao Xinghai, many of the shots are posed group portraits, often absolutely still, although not everyone will freeze for the camera. In a photo of a shepherding couple and their flock, the humans stand still while a lamb wriggles in the womens arms; at a family backyard meal, a little girl wanders around while, conversely, the elderly woman farthest from us gazes intently at the camera. Wang often has a single person looking straight at us out of an otherwise natural shot in which people arent apparently aware of the camera at all. In an open-plan office, business appears to go on, as on a normal working day, but one man near the foreground stares at us; similarly, in a university classroom scene full of students writing away, a young woman meets our gaze, immobile, pen to her lips?the seeming naturalness of the scene undermined by the fact that no-one turns a hair when the recess bell rings. Sometimes Wang Xiaoshuai highlights the self-reflexive aspect to his portraiture, or just its painterliness. Some images show the director himself, a stocky, middle-aged man gazing with a somewhat comic glumness at the camera: in Tiananmen Square, or on the back platform of a moving train (he then cuts away to passengers looking back at the camera, or back at him, although most appear to lose interest after a few moments. In another, the films one overt joke, he stands in the yard of a seemingly disused factory, before a line of workers file right past him, ignoring him totally (his nod to the Lumières and the birth of cinema. We see a group of young women posing in a desolate landscape, while in the foreground, a mainly blank canvas shows the sketched outline of one of them. After a while, the painter appears in shot?Liu Xiadong, whose work was apparently one of the inspirations for this film (a Google search reveals that this image shows him working on a 2010 group portrait called Out of Beichuan. Another image shows a young female dancer standing against a pillar, others lined up in a dark background in sequins and tulle; with its artfully achieved lighting, it seems to channel a painting by Degas or Lautrec. Edited by Valérie Loiseleux?a long-term collaborator of Manoel de Oliveira and Eugène Green?this leisurely film sometimes frames images in isolation, sometimes juxtaposes them for analogy or contrast, very occasionally uses sound to stitch together suites of seemingly unconnected images. One sequence shows a plane etching a white line across a blue sky, then a factory belching smoke, ice drifting on a river, sheep in a green field gradually sweeping across the entire screen; what connects them is a little symphony of unexplained, seemingly unconnected sounds (beginning with footsteps, odd scratchings) threaded throughout. In images like this, or in a single extended shot of long grass waving in the wind,? Chinese Portrait ?echoes Abbas Kiarostamis? Five; elsewhere its group portraits echo Agnès Varda and JRs? Faces Places. There is very little event in? Chinese Portrait, although one incident is quite genuinely explosive: an excavator with a drill attachment chips away insistently at the corner pillar of a huge concrete industrial building, until it suddenly crashed down with an almighty boom, dust filling the screen. This is one of many images of destruction and reconstruction in the film, some by all accounts relating to the devastating earthquake of the Sichuan province in 2008?such as the apartment block caved in down the middle, like a collapsed cake. By contrast, there are various buildings under construction, some of them glumly functional, as opposed to the glossy display maquette of a city project space with glowing skyscrapers. In its fragmented, montaged way,? Chinese Portrait ?tells as forceful a picture of social change as Wangs? So Long, My Son, which spans several decades and ends with its lead characters returning to the city they once knew, some of the buildings they knew still intact in a city transformed almost beyond recognition. One of the films juxtapositions might sound too overt and pointless when described, yet it makes for an eloquent ending. In the penultimate shot, shot from a low angle, a group of rural workers recede into the distance (the film makes consistently strong use of forced perspective) on a plain of parched, cracked earth. At the forefront is a small child clasping a metal bucket, and a women holding out an empty metal bowl. They seem to be pleading to the camera for food in times of need, and the image would almost be crushingly overstated if not for one element; among this static poised group, the child is fidgeting and looking nervously around, bringing an almost comic touch of disruptive chance to this otherwise contrived-seeming tableau. In contrast, the following (and final) shot is one of plenty: its an open-air restaurant in a city, a vision of movement and life, with a musician seen singing and playing guitar, and some sort of agitated debate going on in the background. Everything is vivid and spontaneous. Scan the image long enough, though, and youll notice one of Wangs poised, still gazers almost hidden on the left side of the screen: a young man looking out at us, absolutely still, a figure of photographic fixity in the middle of cinematic movement and, by way of a sign-off, challenging us to piece together the films sprawling imagistic jigsaw for ourselves. Jonathan Romney ?is a contributing editor to? Film Comment ?and writes the? Film of the Week ?column. He is a member of the London Film Critics Circle.
Grv imergency n yn ??. YouTube. Movie stream chinese portrait full. Movie Stream Chinese portrait de famille. Movie stream chinese portrait studio. Best best best ??. Movie Stream Chinese portraitiste. L like the Brian Portrait. Movie stream chinese portrait photos. Was waiting to see the very important part they didnt show after 15:49. You are the most beautiful princess I have ever seen ting ting. Cette femme est très Jolie, en general elle est parfait. Seit 2020 CHINESE ? AMERICAN fotografische Portraits von Mathias Braschler und Monika Fischer. Basel, 2011 Vom 1. Juni bis 1. Juli 2011 zeigt Littmann Kulturprojekte als Zwischennutzung im 1. UG an der Sternengasse 19 in Basel (ehem. Lidl-Filiale) fotografische Portraits aus den USA und China von Mathias Braschler und Monika Fischer. beteiligte Künstler: Monika Fischer (CH) Mathias Braschler (CH) Das Projekt Völlig gleich und total unterschiedlich Die moderne Geschichte der Beziehungen zwischen China und den USA begann 1972 mit dem Besuch Richard Nixons beim chinesischen Staatspräsidenten Mao Zedong. Eine inzwischen legendär gewordene Begegnung der Führer zweier Antipoden ? geographisch, gesellschaftlich und ideologisch. Die weitere Entwicklung hat niemand voraussehen können. China hat seine kommunistische Mangelwirtschaft radikal reformiert, wurde zur Weltmacht und ist heute grösster Gläubiger der hoch verschuldeten und wirtschaftlich geschwächten USA. Der ideologische Machtkampf wurde zum wirtschaftlichen, der ?Papiertiger“, wie Mao einst die USA bezeichnete, zum Vorbild und Konkurrenten, den man auf allen Bereichen übertreffen will. Die beiden Völker dominieren heute das Weltgeschehen. Das eine Land mit rasantem wirtschaftlichem Wachstum, das andere gezeichnet von einer schweren und längst nicht überwundenen Krise. Wer sind die Menschen hinter der Weltgeschichte? 2003 haben Mathias Braschler und Monika Fischer, Fotografen aus Zürich, die USA bereist und ihre Bewohner dokumentiert. Über hundert Aufnahmen sind entstanden. Nicht spontan, sondern jede einzelne Aufnahme mit Überlegung komponiert. So wird das Typische im Individuellen erkenntlich, so empfindet es jedenfalls der Betrachter, bis seine Erwartungen durchbrochen und seine eigenen Vorstellungen widerlegt werden. Fotografiert wurden Bauern, Arbeiter, Familien, Reiche und Arme, Politiker etc. Querbeet durch die Unendlichkeit eines Volkes. Ein paar Jahre später, 2007, wurde das Experiment in China wiederholt. Auf der Fahrt durch das Riesenreich wurden erneut weit über 100 Aufnahmen gemacht. Wiederum waren es Reiche und Arme, Familien und Arbeiter etc., welche in sorgfältig komponierten Bildern porträtiert wurden. Im Vorfeld der Olympiade gab sich das Regime liberal, was allerdings nicht verhinderte, dass die beiden Photographen trotz schriftlicher Bewilligung mehrfach wegen ihres Tuns eingesperrt wurden. Meist deshalb, weil der lokalen Obrigkeit die Wahl ihrer Sujets nicht behagte. Und jetzt hängen erstmals die Fotos aus den USA neben jenen aus China. Und zwar immer paarweise angeordnet. Familie neben Familie, Arbeiter neben Arbeiter und so fort. Und der Beschauer ist gefordert zu entscheiden: was ist gleich und was ist anders, ganz anders? Dass es je zu einer solchen Gegenüberstellung kommen würde, war dabei nie geplant. Die Idee dazu kam von Klaus Littmann, viel später, als die Reportagen längst abgeschlossen waren. Das ist wichtig zu wissen, denn die Übereinstimmungen genauso wie die Unterschiede scheinen so typisch, so frappant, dass man möglicherweise eine vorgeplante Dokumentation im Dienste einer bestimmten These vermuten könnte. Dem ist nicht so. Die Menschen sind so unterschiedlich und so ähnlich, so zufällig und so vorhersehbar, wie sie hier erscheinen. Amerikaner und Chinesen, Männer, Frauen, Menschen. Sehr aufschlussreich, sehr verwirrend und endlos faszinierend. Zur Ausstellung erscheint eine Publikation im Reinhardt Verlag Basel. Die Ausstellung wird unterstützt von: Madiba Immobilien AG Reinhardt Verlag Makro Art AG Kraft E. L. S. AG Nachrichten: 02. 11. 2012, New Book: Chinese - American 28. 05. 2011, CHINESE ? AMERICAN. Portraits von Mathias Braschler und Monika Fischer. Vom 1. Juli 2011 zeigt Littmann Kulturprojekte als Zwischennutzung im 1 (Basel) Publikationen Chinese - American DE, EN, CH, ES Publikationsdatum: 2012 144 Setien, Hardcover CHF 35 / 23 ISBN: 978-3-7245-1684-2 bestellen: Reinhardt Verlag.
Ive never seen a Terrence Malik film but holy hell the cinematography looks fantastic. Movie Stream Chinese portrait de ce compagnon de la libération. Movie stream chinese portrait online. 10:25 WOW, the spirit said that you hear that. Movie stream chinese portrait video. Movie Stream Chinese portrait social. Movie Stream Chinese portrait gallery. This was so beautiful! I love the way you edit your pictures. Muito bom veja o meu canal arte de desenhar. Hall 9000. Movie stream chinese portrait 2. Courtesy of Cinema Guild NEW RELEASE Chinese Portrait December 13?22, 2019 From acclaimed director Wang Xiaoshuai ( Beijing Bicycle; So Long, My So n) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film showcases carefully composed tableaus of people and environments, each one more extraordinary than the last. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, stealing moments of reflection from a society in a constant state of change. A Cinema Guild release. View trailer. Please note: The 5:00 p. m. screening on Friday, December 13 is free for Individual-level Members and above. All other New Release screenings are discounted for Members (7 / free for patron members. New Release Chinese Portrait Friday, December 13, 5:00 p. Museum of the Moving Image - Bartos Screening Room Friday, December 13, 7:30 p. Museum of the Moving Image - Bartos Screening Room Saturday, December 14, 4:00 p. Museum of the Moving Image - Bartos Screening Room Saturday, December 14, 6:30 p. Museum of the Moving Image - Bartos Screening Room Sunday, December 15, 4:00 p. Museum of the Moving Image - Bartos Screening Room Sunday, December 15, 6:30 p. Museum of the Moving Image - Bartos Screening Room Wednesday, December 18, 3:00 p. Museum of the Moving Image - Bartos Screening Room Thursday, December 19, 3:00 p. Museum of the Moving Image - Bartos Screening Room Friday, December 20, 5:00 p. Museum of the Moving Image - Bartos Screening Room Saturday, December 21, 4:00 p. Museum of the Moving Image - Bartos Screening Room Sunday, December 22, 4:00 p. Museum of the Moving Image - Bartos Screening Room.

Movie stream chinese portrait series. At 00:40 you can see eye brows nose and lips before pencil touches paper, please explain cause I like this vid.

Prob wait for the dvd.

Movie stream chinese portrait images. Obrigado, Truffaut! Gracias, Truffaut! Thanks, Truffaut! Grazie, Truffaut. Movie stream chinese portrait movie. Movie stream chinese portrait 3. Summary: From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaus of people and environments. Pedestrians shuffle across a bustling Beijing From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change. [Cinema Guild] … Expand Genre(s) Documentary Rating: Not Rated Runtime: 79 min.
Movie stream chinese portrait software.

Gimme Kiss ? OmarGosh TV. I hope everyone has a great day. 1228 Best chinese portrait artist images in 2020, Chinese art, Artist, Asian art.

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9.1/ 10stars