#blues[超话]#
今年虽然还没赚什么钱,但是想想值得高兴的事情可是有一箩筐呢!
拿了摩托的驾照,骑了侉子,从前公司离职了,回家没有被拉去隔离,和朋友们吃吃喝喝嘻嘻哈哈,回乡下住了一个礼拜,给奶奶还有爸爸过了生日,没有感染新冠肺炎,找到了目前为止都感觉还不错新工作,妮妮尖也搬出去住了(我在南昌有家了)。
最大的遗憾可能就是回北京的时候没在武汉停一下和大家聚聚,之前本来想好今年六月份要去武汉玩的[悲伤]
那这个六月就许愿我可以找到一个好一点的房子,然后下半年赚大钱吧!
再有就是因为疫情我已经太久没有去管我的头发了,现在我已经是张蔷老师了,非常纠结是剪短还是把下半截染了[doge]
今年虽然还没赚什么钱,但是想想值得高兴的事情可是有一箩筐呢!
拿了摩托的驾照,骑了侉子,从前公司离职了,回家没有被拉去隔离,和朋友们吃吃喝喝嘻嘻哈哈,回乡下住了一个礼拜,给奶奶还有爸爸过了生日,没有感染新冠肺炎,找到了目前为止都感觉还不错新工作,妮妮尖也搬出去住了(我在南昌有家了)。
最大的遗憾可能就是回北京的时候没在武汉停一下和大家聚聚,之前本来想好今年六月份要去武汉玩的[悲伤]
那这个六月就许愿我可以找到一个好一点的房子,然后下半年赚大钱吧!
再有就是因为疫情我已经太久没有去管我的头发了,现在我已经是张蔷老师了,非常纠结是剪短还是把下半截染了[doge]
#中国:镜花水月China:Through the Looking Glass#
讨论任何现当代“中西文化”交流的问题,都不可能真的绕开黄柳霜。前条微博提到过那件美丽的晚礼服来自黄在1934年的电影 Limehouse Blues里的扮相。但实际上,她在里面的形象不止这一种。这部电影里她的形象完全值得被精彩地分析:黄柳霜如何在四处受限的境遇内塑造自己的亚裔女性形象,且该形象如何溢出电影屏幕,流转至其他媒介框架里。
太美了,黄柳霜。
讨论任何现当代“中西文化”交流的问题,都不可能真的绕开黄柳霜。前条微博提到过那件美丽的晚礼服来自黄在1934年的电影 Limehouse Blues里的扮相。但实际上,她在里面的形象不止这一种。这部电影里她的形象完全值得被精彩地分析:黄柳霜如何在四处受限的境遇内塑造自己的亚裔女性形象,且该形象如何溢出电影屏幕,流转至其他媒介框架里。
太美了,黄柳霜。
#中国:镜花水月China:Through the Looking Glass#
For centuries China has fueled the creative imagination and inspired fashion. This stunning publication explores the influence of Chinese art, film, and aesthetics on international fashion designers(该出版物探讨了中国艺术、电影和美学对国际时装设计师的影响), including Christian Dior, Jean Paul Gaultier, Karl Lagerfeld, Alexander McQueen, and Yves Saint Laurent.
书中展示了一条我很熟悉的Evening dress。但如果用“龙纹中国旗袍”来描述它肯定不准确,本书讨论的是中国美学对服装的影响,所以需要注意就是“什么影响了什么”“如何影响”“结果是什么,给设计师带来什么启示”。
文中说法如下:
An evocative and glamorous example of the work of Paramount Studios costume designer Travis Banton, who, during the 1930s, also dressed Marlene Dietrich, Carole Lombard, and Mae West, this dress was worn by Chinese-American actress Anna May Wong. While the dress may evoke the "cheongsam", a from-fitting traditional Chinese dress style, its construction is along the lines of high-necked form-fitting Western gowns from the Belle-Epoque period(它的结构沿袭了Belle-Epoque 时代西方高领修身礼服), but the dragon motif adds a distinct Asian influence, dazzling in its execution in gold and silver sequins on luxurious satin. It was designed by Banton for Wong's role of Tu Tuan in the 1934 film "Limehouse Blues." Wong(黄柳霜)was a pioneer for Asian-American actors and one of the few actors in general to transition from silent to talking films(黄是亚裔美国人演员的先驱,也是少数几个从默片过渡到有声电影的演员之一)。
For centuries China has fueled the creative imagination and inspired fashion. This stunning publication explores the influence of Chinese art, film, and aesthetics on international fashion designers(该出版物探讨了中国艺术、电影和美学对国际时装设计师的影响), including Christian Dior, Jean Paul Gaultier, Karl Lagerfeld, Alexander McQueen, and Yves Saint Laurent.
书中展示了一条我很熟悉的Evening dress。但如果用“龙纹中国旗袍”来描述它肯定不准确,本书讨论的是中国美学对服装的影响,所以需要注意就是“什么影响了什么”“如何影响”“结果是什么,给设计师带来什么启示”。
文中说法如下:
An evocative and glamorous example of the work of Paramount Studios costume designer Travis Banton, who, during the 1930s, also dressed Marlene Dietrich, Carole Lombard, and Mae West, this dress was worn by Chinese-American actress Anna May Wong. While the dress may evoke the "cheongsam", a from-fitting traditional Chinese dress style, its construction is along the lines of high-necked form-fitting Western gowns from the Belle-Epoque period(它的结构沿袭了Belle-Epoque 时代西方高领修身礼服), but the dragon motif adds a distinct Asian influence, dazzling in its execution in gold and silver sequins on luxurious satin. It was designed by Banton for Wong's role of Tu Tuan in the 1934 film "Limehouse Blues." Wong(黄柳霜)was a pioneer for Asian-American actors and one of the few actors in general to transition from silent to talking films(黄是亚裔美国人演员的先驱,也是少数几个从默片过渡到有声电影的演员之一)。
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