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照明娛樂原創音樂喜劇動畫續集。原班人馬配音獻聲。巴斯特以及他旗下的藝人將他的新穆恩劇院，轉變成當地最火紅的表演場地，但是他現在有一個更大的野心，舉辦一場全新歌舞大秀的首演會。

歡樂好聲音2
Sing 2
動畫
音樂/歌舞
喜劇
上映日期：2022-01-28

導演：葛斯詹寧斯(GarthJennings)

卡司：馬修麥康納(MatthewMcConaughey)、泰隆艾格頓(TaronEgerton)、瑞絲薇斯朋(ReeseWitherspoon)、史嘉蕾喬韓森(ScarlettJohansson)、巴比康納維爾(BobbyCannavale)、波諾(Bono)、葛斯詹寧斯(GarthJennings)

片長：未提供

劇情簡介：
今年年底佳節，照明娛樂全球賣座動畫電影系列的全新篇章即將展開，有更偉大的夢想和更多超夯流行金曲。
野心勃勃的無尾熊巴斯特穆恩，以及他旗下的全明星動物藝人，即將呈獻史上最華麗耀眼的舞台大秀…而且是在絢爛奪目的世界娛樂之都舉行。
但是有一個難關：他們必須先說服全世界最孤僻的搖滾巨星－由音樂傳奇人物波諾首度為動畫片獻聲演出－加入他們的表演行列。

 

巴斯特（金獎影帝馬修麥康納配音）以及他旗下的藝人將他的新穆恩劇院，轉變成當地最火紅的表演場地，但是他現在有一個更大的野心，那就是在光芒萬丈的紅灘市的克里斯托塔劇院，舉辦一場全新歌舞大秀的首演會。
完全沒有任何娛樂圈的人脈可言，巴斯特和他旗下的藝人－包括總是憂心忡忡的豬媽媽蘿希坦（金獎影后瑞絲薇斯朋配音）、搖滾女豪豬愛希（史嘉蕾喬韓森配音）、認真努力的大猩猩強尼（泰隆艾格頓配音）、內向害羞的大象米娜（托蕾凱莉配音），當然還有愛現豬仔剛特（尼克克羅爾配音）－必須偷偷溜進由一匹冷血無情的娛樂大亨野狼吉米克里斯托（艾美獎得主巴比卡納佛配音）一手打造經營，舉世聞名的克里斯托娛樂公司的辦公室。

 

 為了得到克里斯托先生的注意被逼到狗急跳牆的剛特，突然靈光一閃，給了巴斯特一個超浮誇的點子，巴斯特也逼不得已採用了這個點子，那就是向克里斯托先生掛保證，他們全新的歌舞大秀將由傳奇搖滾獅子歌王柯雷卡洛威（波諾配音）領銜主演。
但問題是，巴斯特從來沒見過柯雷，而且這名傳奇搖滾歌王早就在十幾年前，因為痛失愛妻從音樂界引退，獨自隱居了十幾年，再也沒有人見過他。

 

 當剛特正在幫助巴斯特設計出一場舉世無雙的舞台歌舞秀經典傑作，來自克里斯托先生的壓力（以及可怕的威脅）也越來越大，巴斯特就展開一場尋找傳奇搖滾獅子歌王柯雷卡洛威的大冒險，希望能夠說服他重返舞台。
原本只是巴斯特想要揚名立萬的春秋大夢，卻轉變成一個現代寓言，提醒了每一個人，音樂的力量強大到足以療癒一顆最悲傷破碎的心。
 
【關於電影】
 《歡樂好聲音2》一片由知名導演葛斯詹寧斯回鍋擔任編劇及導演，除了波諾和巴比卡納佛負責配音的全新角色以外，其他全新角色的配音演員還包括樂壇超級巨星菲董和海爾希，《黑豹》女星莉蒂西亞萊特，以及喜劇演員艾瑞克安德烈和雀兒喜柏瑞蒂。
 這部動畫喜劇歌舞片的製片則是具有獨到遠見的照明娛樂創辦人和執行長克里斯梅勒丹德利，以及珍妮特希利。
《歡樂好聲音2》一片融合了幾十首經典搖滾及流行超夯金曲、火花四射的精采表演、美得令人屏息的華麗舞台，以及照明娛樂招牌的搞笑風格和暖心故事，將會是今年底最激勵人心且看完心情愉悅的電影。






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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 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 follo