【晴雅集】 4K ~線上看小鴨完整版~2020~HD

IMDb
台北票房： 0-
美國票房： 0-
影片年份：2020
出品國：China
出　　品：
發行商：
語　　言：Chinese
色　　彩：color
音　　效：
劇情簡介
混沌亂世之中，百魅覺醒、式神集結，眾法師齊聚天都城封印大妖禍蛇，驚天陰謀在重重危機之中浮出水面。年輕的陰陽師晴明（趙又廷飾）承師命前往天都城參加祭天大典，封印被鎮壓三百餘年的禍蛇，阻止其為禍人間。然而禍蛇恃欲而強，晴明與武士博雅（鄧倫飾）、南疆法師以及司天監內廷法師鶴守月（汪峰飾）合力聯手斬蛇除妖。在重重危機中，一個與公主（王子文飾）有關的驚天陰謀逐漸浮出水面。导演: 郭敬明
编剧: 郭敬明
主演: 赵又廷 / 邓伦 / 王子文 / 春夏 / 汪铎 / 更多...
类型: 爱情 / 奇幻
制片国家/地区: 中国大陆
语言: 汉语普通话
上映日期: 2020-12-25(中国大陆) / 2021-02-05(美国网络)
片长: 132分钟
又名: 阴阳师(上)
IMDb链接: tt11454718
晴雅集的剧情简介 · · · · · ·
　　天都城内频频出现怪象，法师们从各方赶来，试图找到真相。
　　阴阳师晴明（赵又廷饰）在探寻真相的过程中，与武士博雅（邓伦饰）、法师泷夜（春夏饰）、鹤守月（汪铎饰）相识，四人决定联手展开调查。深宫内，公主（王子文饰）背负着巨大秘密，深陷这场迷案中...却未曾料到，这背后暗藏一段哀伤的往事。
　　一场危机悄然来临，在紧急关头，有人为知己、有人为心上人、有人为世间安宁，大家为了守护心中所爱，拼死一战……

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~~冠狀病毒病 2020~~

"COVID"和"COVID-19"重定向到此處。有關冠狀病毒引起的疾病，請參閱冠狀病毒疾病。關於目前的大流行病，見COVID-19大流行。
冠狀病毒2019（COVID-19）是一種由嚴重急性呼吸系統綜合症冠狀病毒2（SARS-CoV-2）引起的傳染病。2019年12月，中國武漢發現第一例病例。自那時以來，它已在全世界蔓延，導致持續大流行。
COVID-19的癥狀是可變的，但通常包括發燒、咳嗽、疲勞、呼吸困難以及嗅覺和味覺的喪失。症狀在接觸病毒后一至十四天開始。大約五分之一的感染者不出現任何癥狀。[9] 雖然大多數人有輕微的癥狀，但有些人會患上急性呼吸窘迫綜合征（ARDS）。ARDS可由細胞因子風暴、[10]多器官衰竭、化糞池衝擊和血塊沉澱。觀察到對器官（特別是肺和心臟）的長期損害。人們擔心，大量患者已經從疾病的急性階段中恢復過來，但在幾個月後繼續經歷一系列的影響（稱為長COVID）。這些影響包括嚴重疲勞、記憶喪失和其他認知問題、低燒、肌肉無力和呼吸困難
導致COVID-19的病毒主要在感染者與另一人親密接觸時傳播。[18][19] 含有病毒的小液滴和氣溶膠在感染者呼吸、咳嗽、打噴嚏、唱歌或說話時，可以從他的鼻子和嘴部傳播。如果病毒進入他們的口腔、鼻子或眼睛，其他人就會被感染。病毒也可能通過霧（受污染的表面）傳播，儘管這不被認為是主要的傳播途徑。[19] 確切的傳播途徑很少得到確鑿的證實，[20]但感染主要發生在人們彼此足夠近足夠長的時間。它早在感染者出現癥狀（前癥狀）前兩天就可能傳播，並且從無癥狀個體傳播。在中度病例中，人們仍然感染長達10天，在重症病例中保持兩周。已開發出各種檢測方法來診斷這種疾病。標準診斷方法是從鼻咽拭子進行即時逆轉錄聚合酶鏈反應（rRT-PCR）。
預防措施包括社會隔離、隔離、室內空間通風、咳嗽和打噴嚏、洗手和保持未洗手的手遠離臉部。建議在公共場所使用口罩或遮蓋物，以盡量減少傳播風險。有幾個疫苗候選疫苗正在開發中，儘管沒有一個疫苗已完成臨床試驗。
雖然開發抑制病毒的藥物的工作正在進行中，但目前的主要治療方法是癥狀。管理包括癥狀的治療、支援性護理、隔離和實驗措施。

~~體征和症狀~~
主條目：COVID-19的癥狀
COVID-19的癥狀是可變的，從輕微癥狀到嚴重疾病。[22][23] 常見的癥狀包括發燒、咳嗽、疲勞、呼吸困難以及嗅覺和味覺的喪失。同一感染的人可能有不同的癥狀，他們的癥狀可能會隨著時間而改變。例如，一個人可能發高燒、咳嗽和疲勞，而另一個人在疾病開始時可能發低燒，一周后呼吸困難。然而，在沒有耳朵、鼻子和喉嚨（ENT）疾病的人中，味覺的喪失加上氣味的喪失與 COVID-19 的特異性為 95%
與感染的常見一樣，從人第一次感染的那一刻到出現第一個癥狀之間有一個延遲，稱為潛伏期。COVID-19的潛伏期中位數為4至5天。[25] 大多數有癥狀的人在接觸后兩到七天內出現癥狀，幾乎所有有癥狀的人都會在第十二天之前出現一種或更多的癥狀。
大約五分之一的人感染了病毒，但在任何時間點都未出現明顯癥狀。[27][28][29]這些無癥狀攜帶者往往不接受檢測，而且它們可以傳播疾病。[30][31][29] 其他感染者以後會出現癥狀（稱為預癥狀）或癥狀非常輕微，並且可能傳播病毒

傳輸
COVID-19主要在感染者咳嗽、打噴嚏、唱歌、說話或呼吸後通過呼吸途徑在人之間傳播。當感染者呼出的含有病毒的顆粒（呼吸位或氣溶膠）進入與感染者有密切聯繫的其他人的嘴、鼻子或眼睛時，就會出現新的感染。[33][34] 在人傳過程中，平均1000例傳染性SARS-CoV-2病毒被認為會引發新的感染。
人們互動越密切，互動時間越長，他們就越有可能傳輸COVID-19。距離較近可涉及較大的水滴（落到地面）和氣溶膠，而較遠的距離只涉及氣溶膠。較大的液滴也可能蒸發成氣溶膠（稱為液滴核）。截至2020年11月，較大的水滴和氣溶膠的相對重要性尚不清楚，但目前尚不清楚病毒在房間之間傳播，遠距離如通過空氣管道。空中傳輸在室內、高風險場所（如餐館、合唱團、健身房、夜總會、辦公室和宗教場所）尤為明顯，通常當它們擁擠或通風不足時。它也發生在醫療保健環境中，通常當對COVID-19患者執行產生氣溶膠的醫療程式時。
社會疏遠和戴布面罩、手術口罩、呼吸器或其他面罩是液滴傳播的控制因素。室內的傳輸可減少，並採用維護良好的加熱和通風系統，以保持良好的空氣流通，並增加室外空氣的使用。
一般由一名感染者感染的人數各不相同;據估計，截至2020年9月，一名感染者平均將感染2至3人。這比流感更具傳染性，但比麻疹更不強。[36] 它通常以集群傳播，感染可追溯到索引病例或地理位置。"超級傳播事件"主要作用，許多人被一個人感染
病毒
嚴重急性呼吸系統綜合症冠狀病毒2（SARS-CoV-2）是一種新型嚴重急性呼吸系統綜合症冠狀病毒。它首先從三名肺炎患者中分離出，這些肺炎患者與武漢的急性呼吸道疾病病例群有關。[37] 新型SARS-CoV-2病毒的所有特徵都發生在自然界相關的冠狀病毒中。
在人體外，病毒被家用肥皂摧毀，它打破了其保護泡沫

SARS-CoV-2 與原SARS-CoV密切相關。[40]它被認為有動物（動物）的起源。基因分析表明，冠狀病毒與葉粒細胞病毒屬、亞根沙貝科病毒（血統B）以及兩種蝙蝠衍生菌株一起遺傳。它作為96%的相同，在全基因組水準與其他蝙蝠冠狀病毒樣本（BatCov RaTG13）。[41][42] SARS-CoV-2的結構蛋白包括膜糖蛋白（M）、包絡蛋白（E）、核膠囊蛋白（N）和尖峰蛋白（S）。SARS-CoV-2的M蛋白與蝙蝠SARS-CoV的M蛋白相似98.6%，與穿山甲SARS-CoV的M蛋白保持98.2%的同源性，與SARS-CoV的M蛋白具有90%的同源性;而MERS-CoV的M蛋白的相似性只有38%。在矽分析中表明，SARS-CoV-2的M蛋白具有三重螺旋束，形成單一的3跨膜域，與原糖運輸蛋白S半SWEET是同源的。

电影

电影，也称为电影，电影或运动图片，是一种视觉艺术形式，用于模拟通过使用运动图像传达思想，故事，感知，感觉，美感或氛围的体验。这些图像通常伴随有声音，而很少有其他感觉刺激。[1] “电影”一词是电影摄影术的缩写，通常用来指电影制作和电影业，以及由此产生的艺术形式。
影片的运动图像是通过以下方式创建的：使用电影摄影机拍摄实际场景，使用传统动画技术拍摄图画或微型模型，借助CGI和计算机动画，或者将其中一些或全部技术结合使用，和其他视觉效果。
Qing Ming, the Yin-Yang Master, took his master's last wish and went to the Captial Tiandu City to attend the heaven ceremony. Qing Ming started off with Boya, the young nobleman and a warrior, as foes of each other, but later they became the best friends . The two partnered as a team and solved the bizarre cases, uncovered a century-long secret, and saved the world from the dark powe

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

4 years ago in #news by julianflynn687 (22)

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