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Writer=Mark Bozek; 74 Minute; Countries=USA; ; Year=2018; directed by=Mark Bozek. YouTube. Humm im on the fence. The new york times is not the same at all RIP BC. The times of bill cunningham. The Times of Bill cunningham dance company. “Its not work, its pleasure, ” Bill Cunningham said a few years ago. “Thats why I feel so guilty. Everybody else does work — I have too much fun. ” That was typical of the man, one of the greatest and most distinctive fashion journalists of the past 50 years. Cunningham, the longtime New York Times photographer, died over the weekend at the age of 87. Cunningham had suffered a stroke in his apartment on Central Park South about two weeks ago, and was hospitalized. Beloved in fashion circles, Cunningham, who is best known for his candid and street-style photography, was a fixture at fashion shows and on the streets of New York where he was often seen riding his bicycle to events. On early mornings, Cunningham, who habitually sported a blue button-down smock, would be spotted snapping photos of fashion-forward passersby on Fifth Avenue near Bergdorf Goodman. His passing was immediately felt in the fashion community. Before his mens show began in Paris Sunday night, Thom Browne spoke on the PA system and said: “Good evening everyone. Before we start, I thought it would be appropriate to observe a moment of silence for the incomparable Bill Cunningham. ” Backstage after the show, Browne told WWD: “He was the original…I think he meant so much to people who didnt even realize. Its not just that he was around for so long, he was just the pure version of what is going on today in reverse to people just taking pictures on the streets and bloggers and all of that. He just cared about being behind the camera, not becoming the celebrity himself, which made him even more of a celebrity. ” Although Cunninghams status had grown in nonfashion circles, following the release of the 2011 documentary “Bill Cunningham New York, ” the photographer generally eschewed the spotlight, preferring to be “invisible, ” as he told WWD in 2008 during a retrospective of his work. That year, Cunningham had been honored with Frances LOrdre National des Arts et des Lettres in Paris where he teared up and spoke about his career and love of fashion, offering: “Im not interested in celebrities with their free dresses. Look at the clothes, the cut, the silhouette, the color. Its the clothes. Not the celebrity and not the spectacle. ” Rick Owens was among designers including Sonia Rykiel and Gareth Pugh who attended Cunninghams Legion of Honor ceremony. “I remember tearing up when he spoke about his primary purpose being the pursuit of beauty in a trembling cracking voice, ” he recalled. “And then when Jean-Luce Huré, his French equivalent, embraced him with them both in tears. …Well, I am tearing up right now, just thinking about it. ” “He was very popular, just as much in Paris as in New York. He was very modest. He didnt always have the best seat [at fashion shows] but was always in a great mood. He loved fashion in an incredible way until the end. He jumped for joy after a show he liked, ” said Didier Grumbach, then president of the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode, who awarded Cunningham the French legion of honor. Its Grumbach who asked the French culture ministry to make Cunningham a knight of the Legion of Honor. “He did a lot for Paris. He attended the first Christian Dior show in 1947; he saw the beginning of Yves Saint Laurent, the beginning of ready-to-wear. He was a witness like almost no other. ” In an industry characterized by extravagance, status and largess of oversize egos, Cunningham, who chronicled the fashion industry for The Times since the late Seventies, was something of an anomaly for his singular, almost monastic focus on the clothing, not the personalities. Karl Lagerfeld remarked on that and Cunningham, the man. “Poor Bill. He was such a mysterious person, ” he said. “I met him with Antonio Lopez and Juan Ramos around 1970; I had always the feeling they were his closest friends. Everybody liked him but he was not into social life and had no other close friends. No dinners, nothing. He appeared and disappeared after he had done his job. Not many people knew where and how he lived; he was an extremely discreet person. His presence will be missed. What will happen to his incredible archive? ” Readers of The Times experienced that passion in Cunninghams columns “Evening Hours” and “On the Street, ” which included the photographers audio commentary. Born on March 13, 1929 in Boston, Cunningham came to New York after dropping out of Harvard University at the age of 19. He got his start at Bonwits in the advertising department, but soon began designing hats under his label “William J. ” His business, which was located on 52nd between Madison and Park, folded when he was drafted during the Korean War, and served a tour in the U. S. Army. Cunningham, who was the first journalist in America to write about Azzedine Alaïa and Jean Paul Gaultier, began his journalism career working for WWD under John B. Fairchild, who had just returned from Paris to New York, and later The Chicago Tribune before joining The Times. His first big break came when he took a chance photo of Greta Garbo, who wore a plain nutria coat that had a silhouette that caught his eye. Cunningham confessed he didnt notice who he was photographing, but his editors at The Times did. He showed his editor Arthur Gelb a trove of similar photos he had snapped, which Cunningham said in a 2002 piece for The Times called “Bill on Bill” included “Cornelius Vanderbilt Whitney, the king and queen of Spain and a Kennedy in a fox coat. ” Cornelia Guest, daughter of C. Z. Guest, recalled her first encounter with Cunningham. “I was a little girl and I met him for the first time with my mother, ” she told WWD. “We were coming out of FAO Schwartz and he took our picture. I have known him all my life. He was always ‘Mr. Cunningham and he always called me ‘child. He was a true gentleman and he made the world a better place. ” In a 2002 article, “The Picture Subjects Talk Back, ” by Cathy Horyn, Gelb called the photographs a “turning point” for Cunningham. “It gave him recognition beyond fashion, ” Gelb said. “And his street photography was a breakthrough for The Times, because it was the first time the paper had run pictures of well-known people without getting their permission. The Times had always been prissy about that. ” In 1978, Cunningham published “Facades, ” a collection of 128 photographs of Editta Sherman in front of well-known Manhattan buildings. Years later, in 2008, he received the LOrdre National des Arts et des Letters and in 2012 he received the Carnegie Hall Medal of Excellence. “He had such an eye, ” said Carine Roitfeld. “He paved the way for other photographers. We all dreamt to be featured on his page in The New York Times. It was the page to be on. ” Roitfeld recalled the photos Cunningham took of her wearing an Azzedine Alaïa coat in the snow during New York Fashion Week. “They were magnificent, ” she said. “He called me ‘my child. ‘How are you, my child? When youre a grandmother, its nice to be called ‘my child. He was maybe the only person in the fashion world that everyone — without exception — liked. Hell be greatly missed. ” Street style photographers outside the Lanvin mens show in Paris on Sunday morning in Paris expressed their sadness about Cunninghams death. Adam Katz Sinding, whose Le 21ème blog counts 446, 000 Instagram followers, said: “I got to spend a day in New York with him at the Cloisters. I was on a train with my ex-girlfriend and he was there. We walked with him the whole day, and he was telling us about the Rockefeller parties that he used to shoot there. Everything that I said to him, I had to repeat two or three times because he couldnt hear. But it was very cool [to get to spend the day with him]…I knew who he was at the time I started this [street style photography. He created the whole thing. Theres no question. ” “He was wonderful, always smiling, curious about everything, passionate and so humble! ” said Sarah Andelman, creative director and purchasing manager of Colette, who also praised his “unique eye and incredible sense of observation. ” “I asked him to do an exhibition. He would always politely answer yes, but clearly he didnt want to be in the spotlight, ” she continued. She said she always thought that he should do a book of his photography. “When the documentary [‘Bill Cunningham New York] came out, I saw that everything was organized and archived […] I hope that there will be a book and that the next generations will know his extraordinary work, ” said Andelman. “Theres no one else like Bill, ” said Tommy Ton, the Canadian photographer behind the Jak & Jil blog. “In January, it was pouring rain. The fact that he was willing to stand in the rain while all of us were taking refuge, I thought it was remarkable. Nothing would ever stop Bill. So when I started seeing less of Bill, I was concerned. When the news came, it was very shattering. “I dont even know if this new generation of photographers even knows the imprint of Bills work, ” Ton continued. “He loved clothes, thats what mattered. It wasnt about if someone was a celebrity or what they were wearing. He was interested in telling a story with his pictures. He saw things that no one else could see. ” “He was a cultural anthropologist: The fact that he was willing to stand in the cold or ride his bike, the numerous times I heard he was injured – he once was hit by a truck, or car rolled over his face, ” said Ton. “What was his famous quote? ‘Money is cheap, freedom is the most expensive luxury. '” The French fashion and society photographer Jean-Luc Huré called Cunningham an “extraordinary” man, “a little ascetic. ” “He paid for his flights and photo labs to keep his freedom, ” said longtime friend, Huré. “He had an ethic that we shared. He was making no compromises. He was discreet and shy. ” Huré recalled having lunch with Cunningham, and fans would come to take photos with him. “His face would become very red, and he was very embarrassed. He would tell them that I was the real photographer and therefore that I was the one to shoot, ” said Huré. “When he lived in his pocket-sized apartment in Carnegie Hall, he slept on a cot with boxes of negatives underneath and everywhere – in the bath, in the fridge. ” “He didnt come to Paris during the last two seasons, because of his eyes. His surgeon told him — rightly – not to fly. But I was hoping to see him in October, ” he said. A desk attendant in Cunninghams new building — where he moved after Carnegie Hall — remembered Cunningham fondly. “I used to put eye drops in his eyes, right here in the lobby! ” he said. “Bill didnt care. ” Others chimed in that they were surprised when people would visit the building to ask if Bill Cunningham lived there. “Him? ” joked one attendant, who remembered a time when Renée Zellweger inhabited the building years earlier. “Renée, I would understand. ” But building staff began reading about Cunningham and some even watched the documentary. Soon, like others in the building, they realized Cunningham was special. They talked about how hed always wheel his large bike in the lobby, and sometimes sport a tuxedo for late-night occasions; how he could “get into any fancy party, ” and how hed “just chain up” his bike out front before walking in. Above all, they spoke about what a sweet person Cunningham was and how two of his close friends, who moved from the Carnegie apartments to the new building, had recently passed away, which was a tough blow for him. “He was so humble, ” said the doorman, who found Cunningham in his apartment unresponsive on a Monday. It was believed that Cunningham suffered a stroke on a Saturday night, and concerned neighbors alerted the building when the photographers door was left ajar over the weekend. At The New York Times, where Cunningham spent his days, publisher Arthur Sulzberger Jr. offered: “Bill was an extraordinary person with an incredible talent not just for fashion photography but for life. His company was sought after by the fashion worlds rich and powerful yet he remained one of the kindest, most gentle and humble people I have ever met. We have lost a legend and I am personally heartbroken to have lost a friend. ” Executive editor Dean Baquet praised Cunninghams work ethic and approach to his job, adding: “He was a hugely ethical journalist. And he was incredibly open-minded about fashion. To see a Bill Cunningham street spread was to see all of New York. Young people. Brown people. People who spent fortunes on fashion and people who just had a strut and knew how to put an outfit together out of what they had and what they found. ” Director of photography Michele McNally, who worked closely with Cunningham, said: “Bill was an extraordinary man, his commitment and passion unparalleled, his gentleness and humility inspirational. Even though his talents were very well-known, he preferred to be anonymous, something unachievable for such a superstar. I will miss him every day. ” Despite all the accolades and the minor-celebrity status that he has garnered, Cunningham never let any of it get to his head – just the opposite. “Im a zero. Im a worker in the factory, ” he told WWD in 2014, following his conversation with Fern Mallis. “Im like you and everybody else. Im still enjoying what I do. ” According to a spokeswoman from The Times, Cunninghams funeral will be private and by invitation only. Cunninghams family specifically requested no flowers. Condolences may be sent to his family via the following address: The New York Times c/o Anne Reid, 4th floor, Photo Desk, 620 Eighth Avenue, NY, NY 10018.

The times of bill cunningham documentary netflix. The times of bill cunningham t-shirt. SoSad, wish I would have met him. Saw the documentry they did on him. He was awesome. A grest loss. So he is still homeless. This is a trailer from a film called 'Homme Less' By Thomas Wirthensohn. It's really worth checking out the whole thing. The beloved fashion photographer, a longtime fixture of both street life and society events in New York, gets a second documentary tribute in Mark Bozeks feature, narrated by Sarah Jessica Parker. The death of Bill Cunningham in 2016 marked the end of an era with the disappearance of his candid snapshots from the "On the Street" and "Evening Hours" Sunday columns in The New York Times. The self-effacing fashion historian's monastic dedication to his work, along with the unbridled joy he drew from it, were celebrated in Richard Press' gorgeous 2011 documentary Bill Cunningham New York. First-time director Mark Bozek now takes an expansive view of the subject in The Times of Bill Cunningham, a captivating portrait built around a previously unseen interview he shot with the photographer in 1994. Does this new film shine much fresh light on a life already so affectionately examined in the earlier close-up? Aside from the gratuitous dissing of the Press doc — when Sarah Jessica Parker reads Bozek's scripted narration, making the unverifiable claim that the 2011 film's success and the public recognition it brought Cunningham made him uncomfortable — perhaps not. But if you have a subject as delightful and forthcoming as the self-invented shutterbug, not to mention decades' worth of fabulous footage and photographic records of high and low fashion, you really can't have too much of a good thing. Bozek, whose background is in fashion marketing, television production and 20-plus years as a QVC exec (he was the basis of the Bradley Cooper character in David O. Russell's Joy) began work on the film the day Cunningham died, aged 87. He dug out the long-lost video interview, which had been planned as a quick 10-minute chat but ended up a life-spanning reflection that continued until the tape ran out. During production on the doc, Bozek scored access to Cunningham's vast photo archives covering six decades, including a wealth of previously unpublished material from the pre- New York Times years. For someone inherently shy and unfailingly modest about his achievements, Cunningham is a brilliant interview subject. His words are buoyed by the infectious enthusiasm, the sense of gratitude even, that he shares about having been able to carve out a significant career doing something he loves. "A luxury. he calls it, bringing an exciting sense of discovery to each new day on the job. And he was always on the job. Parked on his favorite corner of 57th Street and Fifth Avenue, or whizzing about New York in his customary uniform of a blue French sanitation workers' jacket on a series of 25 bicycles in as many years — "The cheaper the better. They're only gonna steal it. — he was never without his camera. With prompts from Cunningham at every step, Bozek guides us through the subject's life from his conservative Boston Irish-Catholic upbringing to his arrival at 19 in New York, where he worked in advertising at the chic department store Bonwit Teller. Having fooled around making hats since he was 10, Cunningham began sidelining as a milliner, fashioning fantasy headgear that was much in demand during the explosion of postwar fetes and costume balls. But Bonwits fired him when they learned that his attention-getting creations weren't being sold in their stores. It's the chronicle of this period in particular that makes Cunningham's career such a wonderfully New York-centric story — of a creative artist propelled by drive, resourcefulness and fortuitous connections, though seemingly not by the usual fundamental quality of guile. He secured himself a small apartment to use as a studio, rent free in exchange for janitorial duties, earning a modest income delivering lunches on Madison Avenue and working nights at a Howard Johnson's. He was drafted during the Korean War and stationed in France, where he attended the Paris fashion shows for the first time while also selling his hats to major designers like Schiaparelli. Back in New York, he started working for the influential couture salon Chez Ninon, where his association with future first lady Jacqueline Bouvier began. Perhaps prefiguring by several decades the colonization of Hollywood by the personal stylist, Cunningham makes amusing comments about how the movie sirens of the time, Ginger Rogers, Joan Crawford and Elizabeth Taylor among them, had little style of their own and were not Chez Ninon's ideal customers. The store's preferred clients instead were sophisticated socialites like Babe Paley and Slim Keith. By contrast, Cunningham admits he never cared about his own wardrobe, relying on thrift stores and castoffs, often from widows offloading their late husbands' clothes. He may be the only person who ever went to lunch with the Duke and Duchess of Windsor wearing hand-me-downs. Around this time in the mid-1950s, Cunningham moved into a small apartment in the legendary Carnegie Studios above the concert hall that would become his home and personal archive for the next half-century. The astonishing cast of famous-name artists and eccentrics who lived in these cramped residential apartments over the decades has been widely documented, but it's nonetheless a treat to hear Cunningham talk of his more memorable neighbors. John Fairchild, the editor who transformed Women's Wear Daily into a fashion force, pulled Cunningham into journalism, though the latter is characteristically humble about his efforts as a writer. (Bozek omits any mention of Cunningham's posthumously discovered memoir Fashion Climbing, published this year. Only in the '60s when a friend gave him his first camera and told him to use it like a notebook did he find his métier. But although the self-taught photographer began shooting runway shows, he really found his calling capturing idiosyncratic New York street style. While much of the world was becoming increasingly fixated on the cult of celebrity and the dream factory of Hollywood, Cunningham was more interested in "how women dressed in their own lives. Paradoxically, however, it was a lucky 1978 shot of that most elusive symbol of iconic silver-screen glamour, Greta Garbo, wearing a nutria coat, that opened the doors to his long association with The New York Times. There's a dizzying array of fashion visuals here, both shots by Cunningham and extensive material documenting the decades during which he lived and worked. The image quality varies wildly, but the sheer volume alone almost dictates a second viewing to take it all in. Bozek and editor Amina Megalli could perhaps have streamlined a more elegant narrative out of all this, and Parker's linking commentary is often flowery and overwritten. But the film is never less than charming, imbued with genuine fondness for its subject. What it captures most essentially is the distinctly egalitarian philosophy with which Cunningham approached his chosen field — pegged far more to dressing with flair and imagination than to high-end designer access. He also was perceptive on the ways in which fashion reflects what's happening in terms of the politics and social movements of any particular time. And it's especially refreshing, in this age of spotlight-seeking protagonism, to spend time with an artist whose modus operandi was to remain invisible. "We're not the story. he says at one point. Even more so than the earlier documentary, this one keeps a discreet distance from questions about Cunningham's sexuality and private relationships; though much can be inferred from his exhaustive photo-documentation of Pride parades and other LGBTQ events, starting long before they received general media coverage. In one of the most moving moments in the film, he tears up remembering the devastating losses of the AIDS crisis, his voice breaking as he recalls departed friends, like the fashion illustrator Antonio Lopez, the subject of a recent doc by James Crump. The real strength of Bozek's film is how much of Cunningham's own voice it gives us. Just listening to him on the milestone 1973 Versailles show that grouped together the work of five leading American fashion designers with that of five French counterparts is a rare pleasure. Describing the then-revolutionary innovation of having beautiful African-American models take empowering command of the runway, he calls the moment, pure raw talent pressing on the raw nerve of the time. " The Times of Bill Cunningham  above all reveals a man who found his vocation looking for beauty without ever placing a rigid definition on it, happy to remain in the background while never losing his appreciation for the expressive signature of individual style. Production company: Live Rocket Director-writer: Mark Bozek Producers: Mark Bozek, Russell Nuce Executive producers: Dan Braun, Brendan & Kathleen FitzGerald, Stephane Marsil, Michael Phillips, Susan Rockefeller Music: Ezinma Editor: Amina Megalli Narrator: Sarah Jessica Parker Venue: New York Film Festival (Spotlight on Documentary) Sales: Submarine 74 minutes.

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The Times of Bill cunningham new. It was the whimsical, fantastical world of hats and headdresses that first brought William J. Cunningham into the world of fashion that would revere him for decades to come. As a boy “I could never concentrate on Sunday church services, ” he explained, “because Id be concentrating on womens hats. ” Having dropped out of Harvard, Bill, as he was known to all, established a millinery salon in mid-century Manhattan. He named it William J., so as not to embarrass his conservative Bostonian family with the use of his surname. “His hats were the grand opera of all time, ” remembered the illustrator Joe Eula, citing a broad-brim, ostrich feather–crested beach hat with fringe from brim to floor, behind which the wearer was supposed to be able to change at the beach. His clients included Mrs. Astor and Marilyn Monroe and he would create some of the headdresses for Truman Capotes famed 1966 Black and White Ball (ostensibly given for the Washington Post s Katharine Graham)—the café society event of the decade. Bills hatmaking instincts never left him: He once noticed a lyre bird feather sticking out of the confusion of a Paris flea market stand and recognized it as the headdress that Christian Dior had created to complete the ensemble he designed for mid-century style maven Daisy Fellowess ensemble as “The Spirit of America” for the legendary de Beistegui ball in Venice in 1951. Bill was drafted during the Korean War but returned to hats afterwards and subsequently had a successful career as a fashion reporter for the Chicago Tribune, and later for Womens Wear Daily, then under the direction of the ferociously opinionated and much-feared John Fairchild. He had a scholars understanding of fashion history, exemplified in his 1978 book Facades, in which he photographed the flamboyant photographer Editta Sherman, his neighbor in the rambling complex of Carnegie Hall Artist Studios (where he lived for many years) standing in front of notable Manhattan buildings in period-appropriate ensembles. Disdainful of Womens Wear Daily s heartless irreverence, Bill eventually moved to The New York Times. The legendary illustrator Antonio Lopez gave him his first camera, and he began documenting people whose style he admired, complement to his writing. Although his first subject was the reclusive, elusive Greta Garbo, his weekly On the Street column, initiated in 1978, engendered a new idea of street style photography, capturing the city's largely anonymous denizens whose taste and flair he considered worthy of record. His antennae for seeking out and identifying the true harbingers of change were acute to the end. His scrupulous editorial standards of both content and comportment were old world. He would only document social events that were fundraisers for charitable and philanthropic causes, and every evening he bicycled valiantly from venue to venue to do so, clad in his trademark French workmans smock. When I cohosted an event for the New York City Opera in a magnificent Stanford White building on the Columbia campus one year, Bill politely explained that it would be too far for him to cycle, and so regrettably he would not be able to cover the evening for The Times. Try as one might there was absolutely no question that his unimpeachable editorial integrity could be sullied by accepting our offer of a car to collect him. (“If you dont take money, ” he once explained, “they cant tell you what to do, kid. ”) Well into his eighties, Bill maintained a childs delight in the wonder and magic of fashion at its most inventive, provocative, and ground-breaking. He would chuckle with glee at a slow-moving Rei Kawakubo pageant, and photograph up a frenzy at an Iris van Herpen or Threeasfour show. He was a contemporary Lartigue, capturing well-heeled philanthropists at play, and ardent fashionistas dressed for work or shopping. “We all dress for Bill, ” Vogue s Anna Wintour once said. The filmmakers Richard Press and Philip Gefters 2010 documentary Bill Cunningham New York revealed Bills idiosyncratic approach to work and living. When he was relocated from the Carnegie Hall apartment his first act was to remove the kitchen in his new place to provide more storage for his astonishing archive, much of which was installed under his bed. Bill seduced everyone with his manners and his infectious enthusiasm: Haughty grande dames melted before his kindly lens; swaggering club kids swooned at his attentions and the consecration of being immortalized by his exacting camera. I suspect he didnt always remember everyones names, but his cheery “Hello, young fella” was the most heartwarming salutation I can think of. Bill exemplified everything about the fashion world that is to be cherished and celebrated, and he has gifted posterity a unique archive—a document in pictures of half a century of the evolving world of fashion, and the style of the tastemakers who both shaped and embodied it. In 2008, Frances Ministry of Culture anointed him an Officer of the Order of Arts and Letters. He was Americas national treasure.

The Times of Bill cunningham dance. Watch The Times of Bill Cunningham Online Gorillavid... Years ago, I was walking briskly towards a New York fashion show when an old man with a gentle smile ran after me to take my photograph. Embarrassed, I kept walking. He kept snapping. I kept walking. In those days, “street photography” was yet to mushroom into the multimillion-dollar industry that it is now; the only people who hung around outside the shows were fashion students, Japanese photographers and Bill. “Bill” is Bill Cunningham, and he is a legend. Although “legend” isnt a pristine or shiny or special enough word for him; nor is “gentleman”, nor “genius”. Words pall in the face of his brilliance, but a new documentary, Bill Cunningham New York, captures it beautifully. Released last year in the US, it is.

Cision Blog regrets to inform its readers that beloved New York Times fashion photographer Bill Cunningham has passed away. He fell ill last week following a stroke, and passed away soon after. Designated a living landmark in 2009, Cunningham practically invented the art of street style photography in New York, and chronicled changing fashion trends over the course of his near 40-year career with the Times. After several years working as a hatmaker, Cunningham got his start freelancing for Womens Wear Daily, and struck out on his own, teaching himself photography and following the multiple muses whose sense of style caught his eye. Cunningham was an institution in fashion, in journalism, in New York and at The New York Times, and will be sorely missed by all those who loved him and his work. About Cision Media Research The Cision Media Research Team maintains a database of more than 1. 6 million records, including social influencers, traditional media contacts, outlets and opportunities. We collect and maintain the latest contact and pitching information of bloggers and journalists who can spread your message, broaden your campaign and help you build relationships with the people who matter. Follow us at @Media_Moves Cision Blogs Communications Best Practices Get the latest updates on PR, communications and marketing best practices. Cision Product News Keep up with everything Cision. Check here for the most current product news. Executive Insights Thought leadership and communications strategy for the C-suite written by the C-suite. Media Blog A blog for and about the media featuring trends, tips, tools, media moves and more.

The Times of Bill cunningham. Nowness, why do you credit everything else except the jazz song. Each woman is beaming in her brilliantly creative costume! Hollywood red carpet events look boring by comparison. The Times of bill cunningham. The times of bill cunningham film. The times of bill cunningham documentary. WTF they know damn well they wrong. The times of bill cunningham netflix. The times of bill cunningham showtimes. The times of bill cunningham rotten tomatoes. The times of bill cunningham t shirt. The times of bill cunningham nyff. The times of bill cunningham trailer 2020.

Well by gum I hear her gloven trotters on the white house steps. The Times of Bill cunningham new york. I wanted this to be a heartening story of creativity and redemption, but alas it was just another perpetuation of the dominant paradigm in fashion and more recently street style.

Online, The"Times"of"Bill"CUnninGham* Watch The Times of Bill Cunningham Online Metacritic The Times of Bill Cunningham (2018) Full Movie Online. Bill Cunningham, Paris, 1971. Photo: Harold Chapman/Topfoto / The Image Works Before street-style photography was a cottage industry, it was just Bill Cunningham riding around on a bike. Known for cruising around New York City in his cobalt-blue jacket, snapping photos of expressively dressed Manhattanites, Cunningham was both anthropologist and photographer. And he was a fashion fixture. Hes quite possibly the most beloved photographer in the industry — possibly because almost everyone had a fond Cunningham story. Including director Mark Bozek. Cunningham invited Bozek to film him for a one-minute video for the CFDA awards. But the photographer wound up talking for four hours about his life in Carnegie Hall studios, his first camera, and his four decades working for the New York Times. That was in 1994. When Cunningham died in 2016, Bozek unearthed the interview and made it the center of a documentary, The Times of Bill Cunningham, narrated by Sarah Jessica Parker and featuring hundreds of Cunninghams photographs. It premiered in 2018 at the New York Film Festival but is just being released this Valentines Day. When it premiered, Variety called it, “a snapshot of a life that leaves you grateful for having encountered it. ” Even though Cunningham was 65 years old when he gave the interview that anchors the film, he still seems astonished by all thats happened to him. One moment hes talking about girls breaking down Marlon Brandos door, the next its on to Jackie Kennedy Onassis and her wardrobe. I have to say, watching it first thing this morning made me a lot more excited to get to work. Cunninghams wide-eyed, anything-can-happen attitude in the interview is infectious. Below is an exclusive look at the trailer, if you want to put yourself in a better mood. This New Fashion Documentary Will Cheer You Up.

The Times of bill cunningham new

Whilst the Top Photographers have been suspended by Vogue there is a certain element of double standards by those who throw the laws at them. Told in Bill Cunninghamas own words from a recently unearthed six-hour 1994 interview, the iconic street photographer and fashion historian chronicles, in his customarily cheerful and plainspoken manner, moonlighting as a milliner in France during the Korean War, his unique relationship with First Lady Jackie Kennedy, his four decades at The New York Times and his democratic view of fashion and society. Narrated by Sarah Jessica Parker, The Times of Bill Cunningham features incredible photographs chosen from over 3 million previously unpublicized images and documents from Cunningham.

The Times of Bill cunningham energy. James needs to actually answer more questions because the whole “maybe Ill answer” and then he eats the food is getting a little dramatic. She's a lesbian, they friends, and plotted to get on the show. The times of bill cunningham where to watch.

 

PERFORMANCE footage that will knock your socks off. Will knock off alot more than your socks. Seen at the Tribeca Film Fest - great documentary. "Ray & Liz" and "The Times of Bill Cunningham" look at two of the greatest 20th century photographers through their own eyes. The following essay was produced as part of the  20 18  NYFF Critics Academy, a workshop for aspiring film critics that took place during the 56th edition of the New York Film Festival. Photographers Richard Billingham and Bill Cunningham, across decades and continents, made themselves invisible as they captured people with their cameras. They constantly played with distances — and ideas of distancing — and that allowed their photos to develop into historical documents of their times, capable of collapsing the personal and the social, the indoor and outdoor, and — most startlingly — the private and the public. Both artists set out on a journey of self-exploration and self-determination that is determined through a long process of photographing others, and both artists created biographies for thousands of nameless people by focusing on the intersections of history, politics, and geography. And now, both artists have inspired films that turn the camera around and do the same for them. Billingham even directed one, himself. Theres a Richard Billingham photograph, taken in the mid-nineties, in which his mother, Liz, shakes a fist at his father, Ray. The wall behind Liz is covered in patterned wallpaper, and the cabinet nearby is cluttered with tchotchkes: little statues, porcelain figures, photo frames. Ray, perhaps scared or fed up or both, looks away. It is not an image that one would flaunt as a family photograph. And yet Billingham not only flaunted them, he also constructed a whole series of photographs, shot on the cheapest available film, in which he captured his working class parents over a number of years. The photographers parents were living in the suburbs of Birmingham—infamously called “Black Country” because of the industrial fumes — and surviving poverty. And while he represented them with affection and sympathy, he also highlighted the appalling ways in which the couple lived, drank, smoked and solved jigsaw puzzles while their two children (Richard and his brother Jason) suffered from acute neglect. Billingham brings that same love and affection into making his debut feature film, “ Ray & Liz. ” A beautifully shot triptych thats steeped in kitchen-sink realism, the film allows its maker to revisit his personal history in three parts: The first devoted to his parts, the second to his adolescence, and the third to his solitary adult life as an alcoholic in a crummy public housing apartment. One might read Rays loneliness as a symptom the isolation thats often bred by areas like Cradley Heath (where the Billinghams lived) especially in contrast to the richer neighborhoods of Birmingham. It is said that J. R. Tolkien, who grew up in a posh Birmingham neighborhood, hated looking out to the fumes and the sordidness of the Black Country so much that the view inspired his creation of Mordor, the “Land of Darkness. ” Billinghams images are deep, picturesque, and grotesque, but theyre never offensive, provoking, or fetishizing. Through rich performances by Ella Smith and Deirdre Kelly (playing the younger and older Liz, respectively) and Justin Salinger and Patrick Romer (the younger and older Ray, both of whom eerily resemble the photographers parents) Billingham creates a hall of mirrors that makes it increasingly difficult to discern between his art and his life. He not only constructs a picture of his own dysfunctional family but also discloses the abject circumstances in which families lived on the outskirts of the industrial city of Birmingham, and suffered rampant unemployment under Margaret Thatchers economic policies. The squalor and claustrophobia of a teeming metropolis is palpable in the film as the familys tiny multiple apartments overflow with small things; there is never enough space, and that hyper-proximity is compounded by the continuous sound of drilling and passing trains. In the seminal “On Photography, ” Susan Sontag insists that a painter constructs but a photographer discloses, and Billingham does just that. Through the depiction of his own family, he shows the living conditions of the other families who lived in Britain under similar circumstances. There is the stench and the decay, but there is also the fleeting beauty of a trail of cigarette smoke hanging in a slip of afternoon sunshine seeping in through lace curtains. Considering how Billingham dramatizes the history of a larger country through his portraiture of its ordinary people, Bill Cunningham — the subject of Mark Bozeks documentary “The Times of Bill Cunningham, ” could be seen as his American counterpart. Cunningham, through the three million photographs that he took in his lifetime, showed how history is reflected in the people on the streets: what they wore, how they wore it, and where they went wearing it. Though guided by a fascination with fashion and peoples styles, Cunninghams photographs (mostly unpublished until his death) developed into a diverse commentary on the people and the cultural milieu of New York. Faraway from Billinghams Birmingham, Cunningham toured the streets of New York City on his iconic bicycle, taking pictures of people. “No matter where you go in New York City, you will always discover something, ” Cunningham says in the interview that forms the backbone of Bozeks film. It is this sense of discovering, disclosing, and depicting that lends Cunninghams work a gravitas that is similar to the work of a historian. It is not an exaggeration then to hear Cunningham call himself a fashion historian throughout the documentary. While Billingham maintains a static, stupor-like pace in both “Ray & Liz, ” and in the photographs that capture his parents in various poses of rest and leisure, Cunninghams photographs are quick: men in mid-step, women caught in between a heated conversation, Jackie Kennedy sharing a smile with Calvin Klein. This is deftly complemented by the rapid showreel of images with which Bozek fills his documentary. For Cunningham, often naively considered a photographer of uppity social events, it didnt matter if one was rich or poor, uptown or downtown; he saw the streets of New York as the mirror to the larger social changes sweeping through the country. Neither Billingham nor Cunningham started out wanting to be photographers. Billingham trained as an artist who wanted paint portraits of his father. When the father refused to sit still, Billingham started taking his pictures in the hope of being able to refer to them while drawing the portraits. Cunningham worked as a milliner, was drafted in the army, worked for the chic Paris fashion label Chez Ninon, and wrote as a fashion journalist before a friend gifted him a camera and he began to play with it. Billinghams parents had a small camera, but given the expenses involved in developing film, it was barely used. While their styles vary greatly and the two make for an extremely unlikely comparison, the connection between their works perhaps lies in the curiosity with which they unearth the ordinary, and then heighten it to the realms of the extraordinary. Susan Sontag argues that all photographs “testify to times relentless melt”; by freezing a subject in time, the photographer also freezes the subjects “mortality, vulnerability, mutability. ” Cunninghams photograph of the then reclusive Greta Garbo in a nutria coat comes to mind. It not only brings the superstars aging and mutability to the consciousness of the viewer but also freezes her in time: forever beautiful in her beautiful coat, forever held in her still gaze through her big sunglasses. Billingham, in his own bid to freeze time, takes great pains in drawing out tedious details of his parents lives and apartments. Turning back the clock, he recreates his mother long after her death as he shoots Ella Smith dressed in a floral dress, sitting against a lace curtained window, while she smokes and arranges some flowers on the table. Her fingers are decked out with big rings that reflect the light of the golden hour while she stirs her cup of tea. These same rings are visible when she shakes a fist at her brother-in-law, Lol, almost as if the real Liz had walked out of one of Billinghams photographs, with her tattooed arms on display — defying death and time, yet acutely defined by her mortality. Billinghams portraits are stark and color-blocked, often developed from scratched negatives. “Ray and Liz” is a biography that is exactly like the photographs that make it up: scratchy, grotesque but always with an underlying sense of beauty. Cunninghams photography has a distinct street style that were a mainstay of the The New York Times for a long time. It is only natural that a documentary on him captures the urgency and the diversity of a New York minute. The work of these photographers resulted in living documents emerging from the intersections of history, politics, and geography; these films about them find that the people behind the camera were every bit as fascinating as the ones they found in front of them. “Ray & Liz” and “The Times of Bill Cunningham” screened at the 2018 New York Film Festival. Both films are seeking U. S. distribution. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Sales of the times of bill cunningham. Opens February 14, 2020 1 hr 14 min Documentary Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing The Times of Bill Cunningham near you. ENTER CITY, STATE OR ZIP CODE GO This movie releases on February 14, 2020. Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. The Times of Bill Cunningham Synopsis Bill Cunningham, the legendary New York Times photographer and fashion historian, shares his life story in his own words and photographs from his remarkable archive of over 3 million images. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.

Bill Cunninghams uniform was utilitarian: a blue French workers jacket, khaki pants and black sneakers. Bill Cunningham, the street-style photographer whose photo essays for The New York Times memorialized trends ranging from fanny packs to Birkin bags, gingham shirts and fluorescent biker shorts, died Saturday in New York. He was 87. He had been hospitalized recently after having a stroke. In his nearly 40 years working for The Times, Mr. Cunningham operated as a dedicated chronicler of fashion and as an unlikely cultural anthropologist, one who used the changing dress habits of the people he photographed to chart the broader shift away from formality and toward something more diffuse and individualistic. At the Pierre hotel on the East Side of Manhattan, he pointed his camera at tweed-wearing blue-blood New Yorkers with names like Rockefeller and Vanderbilt. Downtown, by the piers, he clicked away at crop-top wearing Voguers. Up in Harlem, he jumped off his bicycle — he rode more than 30 over the years, replacing one after another as they were wrecked or stolen — for B-boys in low-slung jeans. In the process, he turned into a celebrity himself. In 2008, Mr. Cunningham went to Paris, where the French government bestowed him with the Légion dHonneur. Back in New York, he was celebrated at Bergdorf Goodman, where a life-size mannequin of him was installed in the window. In 2009, he was named a Living Landmark by the New York Landmarks Conservancy and profiled in The New Yorker, which described his columns On the Street and Evening Hours as the citys unofficial yearbook, “an exuberant, sometimes retroactively embarrassing chronicle of the way we looked. ” In 2010, a documentary film, “Bill Cunningham New York, ” premiered at the Museum of Modern Art to glowing reviews. Yet Mr. Cunningham told nearly anyone who asked about it that the attendant publicity was a total hassle, a reason for strangers to approach and bother him. He wanted to find subjects, not be the subject. He didnt go to the movies. He didnt own a television. He ate breakfast nearly every day at the Stage Star Deli on West 55th Street, where a cup of coffee and a sausage, egg and cheese could be had until very recently for less than 3. He lived until 2010 in a studio above Carnegie Hall amid rows and rows of file cabinets, where he kept all of his negatives. He slept on a single-size cot, showered in a shared bathroom and, when asked why he spent years ripping up checks from magazines like Details (which he helped Annie Flanders launch in 1982) said: “Moneys the cheapest thing. Liberty and freedom is the most expensive. ” His uniform was utterly utilitarian: a blue French workers jacket, khaki pants and black sneakers. Although he sometimes photographed upward of 20 gala events a week, he never sat down at any of them for dinner and would wave away people who walked up to him to inquire whether he would at least like a glass of water. Instead, he stood off to the side photographing women like Annette de la Renta and Mercedes Bass in their beaded gowns and tweed suits. As Anna Wintour put it in the documentary about him, “Ive said many times, we all get dressed for Bill. ” “His company was sought after by the fashion worlds rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met, ” said Arthur Ochs Sulzberger Jr., The Times publisher and chairman. “We have lost a legend, and I am personally heartbroken to have lost a friend. ” Dean Baquet, The Times executive editor, said: “He was a hugely ethical journalist. And he was incredibly open-minded about fashion. To see a Bill Cunningham street spread was to see all of New York. Young people. Brown people. People who spent fortunes on fashion, and people who just had a strut and knew how to put an outfit together out of what they had and what they found. ” Mr. Cunningham particularly loved eccentrics, whom he collected like precious seashells. One was Shail Upadhya, whose work as a Nepalese diplomat is perhaps less memorable than his penchant for polka dots, Pucci prints and other assorted peculiarities, like a self-designed floral-print coat made from his retired sofa. Mr. Cunninghams most frequent observation spot during the day was Fifth Avenue and 57th Street, where he became as much a part of the scenery as Tiffany & Co. His camera clicked constantly as he spotted fashions and moved with gazellelike speed to record his subjects at just the right angle. “Everyone knew to leave him alone when he saw a sneaker he liked or a dress that caught his eye, ” said Harold Koda, the former curator in charge at the Metropolitan Museum of Arts Costume Institute. “Because if you were in the way of someone he wanted to photograph, ” said Kim Hastreiter, the editor of Paper Magazine and a friend, “he would climb over you to get it. He was like a war photographer that way, except that what he was photographing were clothes. ” “When Im photographing, ” Mr. Cunningham once said, “I look for the personal style with which something is worn — sometimes even how an umbrella is carried or how a coat is held closed. At parties, its important to be almost invisible, to catch people when theyre oblivious to the camera — to get the intensity of their speech, the gestures of their hands. Im interested in capturing a moment with animation and spirit. ” William John Cunningham Jr. was born March 13, 1929, in Boston, the second of four children in an Irish-Catholic family. In junior high, he used bits of material he got from a dime store to put together hats, one of which he gave to his mother to wear to the New York Worlds Fair in 1939. “She never wore it, ” he once said. “My family all thought I was a little nuts. ” As a teenager, he got a part-time job at the department store Bonwit Teller, then received a scholarship to Harvard only to drop out after two months. “They thought I was an illiterate, ” Mr. Cunningham said. “I was hopeless — but I was a visual person. ” With nothing to do in Boston and his parents pressuring him to find some direction, he moved to New York, where he took a room with an uncle, Tom Harrington, who had an ownership stake in an advertising agency. “My family thought they could indoctrinate me in that business, that living with my uncle, it would brush off, ” Mr. “But it didnt work. I had always been interested in fashion. ” So when Harrington issued his nephew an ultimatum — “quit making hats or get out of my apartment” — Mr. Cunningham chose the latter. To make extra money, he began freelancing a column in Womens Wear Daily, then quit in the early 1960s after getting into a feud with its publisher, John Fairchild, over who was a better designer: André Courrèges or Yves Saint Laurent. Around 1967, he got his first camera and used it to take pictures of the “Summer of Love, ” when he realized the action was out on the street. He started taking assignments for The Daily News and the Chicago Tribune, and he became a regular contributor to The Times in the late 1970s, though over the next two decades, he declined repeated efforts by his editors to take a staff position. “Once people own you, ” he would say, “they can tell you what to do. So dont let em. ” That changed in 1994 after Mr. Cunningham was hit by a truck while riding his bicycle. Explaining why he had finally accepted The Times offer, he said, “It was a matter of health insurance. ”.

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The times of bill cunningham how to watch. The times of bill cunningham streaming. The times of bill cunninham. Beautiful shots. What's the song playing at 45sec I must know. Reviews of the times of bill cunningham. Evening Hours Evening Hours, Tending Their Garden The Isabella Stewart Gardner Museum in Boston, with its exotic flowering courtyard, held its annual installation of the nasturtium vines on April 1. The museum, which opened in 1903 in a Venetian-style building, is an intensely personal creation using the art of painting, sculpture, music, literature and horticulture. By Bill Cunningham.

The times of bill cunningham trailer. Its so SHALLOW. Couldn't even focus on the content first time around. just kept waiting for him to say something again. I love you, Matthew.

 

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