Michelle Obama’s New Book Is a Historical Document Dressed Up as a Coffee-Table Tome
“The Look” should be studied by generations to come, not because of what it reveals about fashion, but politics.
Making an image for posterity: Michelle Obama, wearing a Milly gown and having her makeup touched up by Carl Ray, as she prepared to sit for Amy Sherald’s painting of her for the National Portrait Gallery. Credit...Carl RayBut most of all it is a historical document, capturing a pivotal moment in the evolution of the role of first lady when clothing became an even bigger part of communication. When, in other words, dress became an officially recognized part of the job. That’s a bigger deal than it might appear.
Michelle Obama and Justice Ketanji Brown Jackson Draw Crowds on Martha’s Vineyard
In Oak Bluffs, film premieres, book fairs and star-studded soirees attracted fans who came for the art and stayed for the community.
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From state occasions to casual chic, she is always turned out spotlessly. Wardrobe Decoder takes a look at Michelle Obama's style history to find out why she is fashion's first lady.
http://www.bbc.com/culture/story/20140117-fashions-first-lady
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Michelle Obama’s vibrant life in Washington, now without bangs. From frequenting the restaurants of the moment to focusing on her role as a mentor to minority children from poor backgrounds like her own.
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In many ways she is the embodiment of the contemporary, urban, well-heeled middle-aged American woman. Except she is also Michelle Obama.
The Muppets fired back this past week at a Fox Business host for suggesting in December that their new movie was brainwashing kids with a radically green agenda
Muppets Mock Fox News for Indoctrination Fears
Two months later, Kermit and Piggy look to have the last laugh. By Josh Voorhees | Posted Monday, Jan. 30, 2012, at 3:24 PM ET
Michelle Obama is joined by Kermit the Frog, from The Muppets Movie, as she reads a story during the 2011 National Christmas Tree Lighting Ceremony
JEWEL SAMAD/AFP/Getty Images
UPDATE: Better late than never, we suppose.
The Muppets fired back this past week at a Fox Business host for suggesting in December that their new movie was brainwashing kids with a radically green agenda.
"It's a funny thing, they were concerned about us having some prejudice against oil companies and I can tell you, that's categorically not true," Kermit the Frog said at a London press conference following the film's U.K. premiere, video of which is now making its way around the Internet (and is embedded below). "And besides, if we had a problem with oil companies why would we have spent the whole film driving around in a gas-guzzling Rolls Royce?"
Miss Piggy offered a more critical take: "It’s almost as laughable as accusing Fox News of, you know, being news."
The response from the puppets (or more specifically their puppeteers) comes nearly two months after Fox Business' Eric Bolling offered his less-than-flattering take on The Muppets, comments that speedily went viral given the attention-grabbing Web headlines that quickly followed.
At the time, James Bobin, the film's director, brushed aside the criticism. "Cable news is 24 hours long so you have to fill it up with something," he told the Hollywood Reporter. "No, the Muppets are not communist. And the character of Tex Richman is not an allegory for capitalism in any way. The character is called Tex Richman."
Here's the video:
Monday, Dec. 5: The Muppets are a bunch of tree-hugging commies who are trying to brainwash Americans children to hate big business.
At least that’s the case according to Fox Business’ Eric Bolling, who has some corners of the Web abuzz this week after he offered a rather critical take of the Muppets’ new movie. The Follow the Money host brought the issue up last week during a segment on his show, during which he interviewed the conservative Media Research Center’s Dan Gainor. The like-minded pair took turns pointing out what they say was the movie’s, in specific, and Hollywood’s, in general, overtly partisan take on the world.
Bolling's and Gainor's issues with The Muppets stems from the fact that its plot centers on the heroes' bid to prevent an evil oil tycoon—with the less-than-nuanced name of Tex Richman—from tearing down the Muppets’ beloved theater to drill for oil.
That narrative decision, according to Gainor, was the latest example of a Hollywood production unfairly making the oil industry the villain. After name-dropping such films as Syriana and Cars 2, he offered this take on the benefits of carbon-based fuels that he says the movie industry avoids: "None of [the movies] remind people what oil means for most people, which is fuel to light a hospital or heat your home or maybe fuel an ambulance to get you to a hospital if you need that. They don’t want to tell that story."
There’s plenty more from where that came from in the video clip (which Fox News watchdog Media Matters has here), including an attempt to tie what Bolling and Gainor see as Hollywood’s anti-corporate message to the recent Occupy Wall Street movement. (Most of the pull-quotes came from Gainor but, as you'll see in the video, Bolling clearly led the way with his questions and his own comments.)
"This is what they're teaching our kids." Gainor said. "You wonder why we've got a bunch of Occupy Wall Street people walking all around the country. They've been indoctrinated, literally, for years by this kind of stuff. Whether it was Captain Planet or Nickelodeon's Big Green Help or The Day After Tomorrow, the Al Gore-influenced movie, all of that is what they're teaching, is that corporations are bad, the oil industry is bad, and ultimately what they're telling kids is what they told you in the movie The Matrix, that mankind is a virus on poor, old Mother Earth."
The Washington Post points out one of the problems with the specific argument against the The Muppets: "Environmentalism wasn’t mentioned in the movie. The Muppets save their theater because it’s a landmark and their historical home—not because they’re trying to hinder the oil industry’s progress, or save the planet."
| 基本資料 | |
|---|---|
| 導演 | 阿德里安·萊恩 |
| 監製 | |
| 編劇 | 薩拉·克諾坎[*] 薩曼·金 帕特里夏·路易斯安那·克諾普[*] |
| 劇本 | |
| 原著 | 《愛你九週半》 英格堡·戴作品 |
| 主演 | |
| 配樂 | 傑克·尼切 |
| 攝影 | 彼得·比祖烏 |
| 剪輯 | |
| 製片商 | 製作者銷售組織[*] |
| 片長 | 117分鐘[1] |
| 產地 | 美國 |
| 語言 |
|
| 上映及發行 | |
| 上映日期 |
|
| 發行商 | MGM/UA Entertainment Co.（美國） PSO International（國際） |
| 預算 | 0.17億美元 |
| 票房 | 1億美元[2] |
| 前作與續作 | |
| 續作 | 愛你九週半2 |
| 各地片名 | |
| 中國大陸 | 九周半（內參） |
| 香港 | 九個半星期 |
| 臺灣 | 愛你九週半 |
| 新加坡 | 乾柴烈火九周半 |
《愛你九週半》（英語：9½ Weeks）是一部1986年美國情色愛情片，由阿德里安·萊恩執導，金·貝辛格和米基·洛克主演。貝辛格飾演一名紐約市美術館員工，與洛克飾演的神秘華爾街經紀人有一段短暫而激烈的戀情。劇本由莎拉·克諾常、薩曼·金和帕特里夏·路易斯安那·克諾普編寫，改編自奧地利裔美國作家英格堡·戴1978年的同名回憶錄。
這部電影於1984年完成，但直到1986年2月才上映。美國發行商米高梅認為影片過於露骨，因此進行了大量剪輯，以便在美國上映[3]，結果是票房炸彈，票房670萬美元，預算1700萬美元[4]，評價也是褒貶不一。然而，原聲音樂賣得很好，電影本身未經剪輯的版本在國際上取得了巨大成功，特別是在澳大利亞、加拿大、法國、德國和英國，全球票房達到1億美元[2]，也在錄影和DVD上獲得了大量粉絲和邪典追捧[5]。
| ナインハーフ | |
|---|---|
| 9½ Weeks |
- "Before 'Fifty Shades', How '9 1/2 Weeks' Director Put S&M Onscreen" （頁面存檔備份，存於網際網路檔案館）, by Seth Abramovitch; The Hollywood Reporter, Feb. 12, 2015. (retrieved October 12, 2019)
あらすじ
ジョンはウォール街の金融ブローカー、エリザベスは20代半ばバツイチのソーホーのアートギャラリーの従業員。エリザベスはニューヨークの中華料理店で初めてジョンと出会う。エリザベスは、フリーマーケットで見かけたスカーフに魅了されるが高価なため買うことを断念する。ジョンはそのスカーフをエリザベスに贈り彼女の心をつかむ。二人は交際を始めるが、エリザベスは次第にジョンの特異な行動にさらされるようになる。ジョンはエリザベスに目隠しをし、エリザベスは最初は嫌がり彼の性的要求に応じようとしなかったが、やがてその要求に応じるようになる。ジョンは彼女に高価な金の時計を与え、それを使って毎日正午に彼が自分に触れることを考えるように、と指示する。そして彼女は、指定された時間に職場で自慰行為をするようになる。
エリザベスはジョンを自分の生活に取り込み、友人に会わせたいと考えたが、ジョンは夜にしか会いたくないと言い、友人とは昼間に会うように指示する。エリザベスは、ジョンが自分をジョンのアパートに残していったことで、ジョンに対する戸惑いを募らせる。そして彼のクローゼットを調べ、彼が別の女性と一緒に写っている写真を発見する。それに気づいたジョンはエリザベスに、自分の部屋を勝手に調べたのかと尋ね、罰を与えると宣言する。そして、ジョンは彼女に性的暴行を加える。
エリザベスは精神的な刺激を求めて、ジョンのオフィスにつきまとうようになる。昼食を共にした際、彼女が「男ばかりの中に入りたい」と言ったので、彼は彼女が男装してランデブーするように手配する。その店を出たところで、ジョンとエリザベスをゲイカップルと勘違いした2人の男が同性愛者への中傷を浴びせ、喧嘩になってしまう。エリザベスは相手のナイフを拾い、相手の尻を刺して二人で逃げる。喧嘩の後、エリザベスは濡れたタンクトップを見せ、ジョンと強烈な情熱を持ってその場でセックスをする。この後、ジョンの性的遊戯はよりSM的要素を帯びていく。しかし、それはエリザベスを満足させたり、力づけたりするのではなく、彼女の感情的な弱さを強めるものであった。
エリザベスは、画家のファンズワースとの展覧会がようやく実現する。しかし、彼女はすでに精神的に追い詰められていた。エリザベスはパーティーを抜け出し、ジョンに電話をかける。エリザベスはジョンの家で一晩を過ごし、そして翌朝、彼女は立ち上がり、ゆっくりと彼のアパートから荷物を運び出す。彼女が出て行くことを知ったジョンは、自分の人生について詳しく話そうとする。しかしエリザベスは、手遅れだと言ってアパートを出て行く。彼女が戻ってくることを願いながら、ジョンは心の中で50からのカウントダウンを始める。劇情簡介：約翰是華爾街的金融經紀人，伊莉莎白是一位離婚的蘇豪區畫廊員工，二十多歲。伊莉莎白在紐約一家中餐館與約翰初次相遇。她在跳蚤市場看到一條圍巾，被它深深吸引，但因為價格昂貴而作罷。約翰將圍巾送給了伊莉莎白，贏得了她的心。兩人開始約會，但伊莉莎白逐漸察覺到約翰的古怪行為。約翰蒙住了伊莉莎白的眼睛，儘管她起初抗拒他的性騷擾，但最終還是順從了。約翰送給她一塊昂貴的金表，並指示她每天中午用它想像他撫摸她的畫面。之後，她開始在工作時於指定時間自慰。
伊莉莎白希望約翰融入她的生活，並把他介紹給自己的朋友，但約翰說他只想在晚上見到她，並指示她白天去見他的朋友。約翰把伊莉莎白獨自留在公寓後，伊莉莎白越來越感到困惑。她翻看了他的衣櫥，發現了他和另一個女人的合照。約翰發現後，質問伊莉莎白是否未經允許就搜查了他的房間，並威脅要懲罰她。隨後，他性侵了她。
為了尋求心理刺激，伊莉莎白開始跟蹤約翰的辦公室。午餐時，她表達了想要被男人包圍的願望，於是約翰安排她男扮女裝與他約會。當他們離開餐廳時，兩個男人誤以為約翰和伊莉莎白是一對同性戀情侶，對他們進行恐同辱罵，雙方隨即發生衝突。伊莉莎白拿起其中一個男人的刀，刺向他的臀部，兩人逃走。打架結束後，伊莉莎白脫下濕透的背心，當場與約翰激情性交。從此以後，約翰的性遊戲開始帶有更多虐戀的元素。然而，這非但沒有讓伊莉莎白感到滿足或獲得力量，反而加劇了她情感上的脆弱。
伊莉莎白終於爭取了與畫家范斯沃斯合作舉辦畫展的機會。但她早已心力交瘁。伊莉莎白偷偷溜出派對，打了電話給約翰。她在約翰家過夜，隔天早上起床後，慢慢地把自己的東西搬出了他的公寓。約翰得知她要離開後，試圖向她傾訴自己的生活，但伊莉莎白告訴他一切都太遲了，然後離開了公寓。約翰心中充滿希望，開始默默地從50倒數，盼望她能回來。
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