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特工高野（藤原龙也）是一个秘密组织，内心炸弹，还有他的搭档陶香（竹内龙马）。每隔24小时就会有死亡的危险，与每个国家的特工进行的威胁生命的脑力争端始于“下一代能源将决定全人类的未来”的机密信息。在极端困难接连发生的极端情况下，两次心脏爆炸的极限正在逼近。
导演: 羽住英一郎
编剧: 林民夫
主演: 藤原龙也 / 竹内凉真 / 韩孝周 / 卞约汉 / 市原隼人 / 更多…
类型: 剧情 / 科幻 / 悬疑
官方网站: wwws.warnerbros.co.jp/taiyomovie/
制片国家/地区: 日本
语言: 日语
上映日期: 2021–03–05(日本)
又名: 太阳不会动(台) / The Sun Does not Move / Taiyô wa ugokanai
IMDb链接: tt10423106
太阳不能动的剧情简介 · · · · · ·
讲述了主人公是间谍组织“AN通信”的谍报员鷹野一彦，他将和搭档田冈亮一，在围绕太阳能开发技术的情报争夺战中，与足以动摇日本财政界的巨大阴谋、来自韩国的商业间谍以及各国掌权者展开对峙。
★日本影帝藤原龍也ｘ韓國影后韓孝周 遠赴保加利亞實景拍攝 ★頂尖特務諜對諜！
★《浴血任務3》製作團隊 改編人氣小說 重金跨國拍攝諜戰鉅作
★關鍵倒數24小時 挑戰人性極限與死亡的威脅
秘密組織AN集團為了防堵旗下特務出賣公司，於是祭出心臟炸彈手段。一旦超過24小時他們未回報總部任務進度，就會被炸得粉身碎骨。首屈一指的頂尖菁英鷹野一彦（藤原龍也 飾）與火爆新秀田岡亮一（竹内涼真 飾）搭檔，奉命至保加利亞營救被中國財團CNOX監禁的特務山下龍二（市原隼人 飾）。
此時距離山下回報任務進度僅剩五分鐘，為救出山下雙方展開一連串激烈打鬥。五、四、三、二、一，嗶 — 蹦！山下最終未能即時回報，被總部視為「可能」的叛徒進而引爆心臟炸彈。
鷹野與田岡兩人繼續山下未完的任務，並查出山下被監禁的原因與能操控全世界的「次世代能源」有關，各國相繼祭出高額賞金獲取情報，國際特務展開一場鬥智鬥勇的情報爭奪戰！
正當陷入苦戰之際，埋在鷹野體內的心臟炸彈到數啟動。時間一分一秒的流逝，面對各方陰謀與死亡威脅襲捲而來，他能即時回報任務，看見明天的太陽嗎！？
改编自吉田修Links to an external site.一的“高野和彦系列”中的两本小说：“ Taiyo wa Ugokanai”（2012年4月25日由Gentosha出版）和“ Mori wa Shitte Iru”（2015年4月22日由Gentosha出版）。
电影的主题曲是格努国王（King Gnu）的“阿波”。
电影原定于2020年5月15日在日本上映，但由于COVID-19爆发而推迟。
相关标题：
太阳不动太阳与乌加卡奈岛：日食（WOWOW / 2020）
太阳不动太阳与雨神（2021）
投
藤原龙也 — 高野和彦
竹内龙马 — 陶一良一
韩孝柱-y子
Byun Yo-Han-David Kim
市原人 — 山下龙司
萨拉南（Sara Minami）-菊池诗织（Shiori Kikuchi）
加藤圣四郎 — 柳gi雄二
横田英治（Eiji Yokota）-大原丈美（Jimi Ohara）
Arisa Yagi-小田
胜野洋（Hiroshi Katsuno）–小田教授
宫崎骏（Yoshiko Miyazaki） — 川上麻子（Asako Kawakami）
鹤见真吾（Shingo Tsurumi） — 川上曼太郎
佐藤浩市-风间武
Wataru Hyuga-高野和彦（高中生）
电影，也称为电影，电影或运动图片，是一种视觉艺术形式Links to an external site.，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。这些图像通常伴有声音，并且很少伴有其他感官刺激。 “电影”一词是电影摄影术的缩写，通常用于指电影制作和电影业以及由此产生的艺术形式。
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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 The Owners 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 The Owners 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
