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2018 / Writed by=Mark Bozek / / user rating=6,4 / 10 / Country=USA / 1h 14 m. Free watch the times of bill cunningham wife. Free watch the times of bill cunningham tv show. Free watch the times of bill cunningham death. Free watch the times of bill cunningham band. Free watch the times of bill cunningham full episodes.

New video loaded: Bill Cunningham | Duality transcript transcript Bill Cunningham | Duality The contrast between black and white is a favorite, no matter the generation. The contrast between black and white is a favorite, no matter the generation. It showed up in bold graphics and in romantic 1950s silhouettes and prints as the young crowd offered its interpretation of the combination. Recent episodes in Bill Cunningham The legendary Times fashion photographer Bill Cunningham died on Saturday, June 25, at age 87. In this weekly video series, he spotted and distilled the latest trends from the runways of Paris to the colorful streets of New York. The legendary Times fashion photographer Bill Cunningham died on Saturday, June 25, at age 87. In this weekly video series, he spotted and distilled the latest trends from the runways of Paris to the colorful streets of New York.

Free watch the times of bill cunningham online. Free watch the times of bill cunningham season. Free Watch The Times of Bill cunningham. Free watch the times of bill cunningham song. Moviegoers are suckers for a true story, which is why documentary films are so endearing and fascinating. While we often respond to narrative features with glee, hope, fear, and excitement, nothing can top a good documentary—which can also shake us to our core while expanding our worldview through experiences that are unknown or foreign. These 20 documentaries are powerful, shocking, heartbreaking, and intense, and each will resonate with viewers open to learning more about the world. The Work (2017) Buy/rent on Amazon Buy/rent on iTunes Within the confines of the infamous Folsom Prison, level-four convicts—prisoners assigned to maximum security—meet for an intensive three-day group therapy session that serves as part of their rehabilitation. It’s there that arguably most intense moments of their stay takes place, when the convicts reach deep inside themselves to revisit their past traumas and vulnerabilities that have played a role in their violent behavior. The Work follows three outsiders who join the retreat, slowly revealing their own therapy progress as their expectations about both the convicts with whom they interact—and their own notions of masculinity—are completely shattered. It is at times heartbreaking, terrifying, and incredibly urgent. Pina (2011) Buy/rent on Amazon Buy/rent on iTunes Legendary director Wim Wenders offers a moving portrait of his friend Pina Bausch, an internationally acclaimed dancer and choreographer who died unexpectedly in the early days of the production of Wenders’s documentary. The members of Bausch’s company, Tanztheater Wuppertal, became Wenders’s collaborators, offering their own memories and perspectives of their mentor and leader. Shot in gorgeous 3D, Pina is unlike any dance performance you’ve ever seen: Rather than watching the movement from the audience, the camera glides in and out of the set pieces to place you firmly within the action. The result is not just a fascinating biographical document of a creative genius, but also a beautiful celebration of the human body and the art that it can usher forth. The Act of Killing (2012) Buy/rent on Amazon Between 1965 and 1966, an anti-communist purge took place in Indonesia, a mass killing that historians have estimated a total of 400, 000 to 3, 000, 000 victims. Half a century later, director Joshua Oppenheimer (along with Christine Cynn and an anonymous Indonesian filmmaker) crafted The Act of Killing, a compelling and brutal look at former members of the death squads—now revered for creating the society in which they now live. In a manner that highlights the banality of their work (and their cultural attitudes toward it), the former death squad members recreate their work in lavish ways in the style of cinematic genres—westerns, musicals, gangster films, etc. The Central Park Five (2013) Buy/rent on Amazon Buy/rent on iTunes In April 1989, 28-year-old Trisha Meili was brutally assaulted and raped as she was jogging in New York City’s Central Park. That same night, five young men—four black, one Hispanic—were arrested for suspected gang activity in the park; after hours of interrogations and coerced confessions, the teenage boys were charged with assault, robbery, rape, sexual abuse, and the attempted murder of Meili. What ensued was a media firestorm, in which racism within the confines of the courtroom—and on the front pages of the city’s tabloids—led to the boys’ conviction. Ken Burns’s documentary, co-directed with his daughter Sarah Burns and David McMahon, looks back at one of the most notorious criminal cases in recent memory a decade after another man confessed to committing the crime and the Central Park Five’s convictions were vacated. Man on Wire (2012) Buy/rent on Amazon Buy/rent on iTunes In 1974, a week before his 24th birthday, high-wire artist Philippe Petit stunned the typically cynical denizens of New York City when he walked on a wire between the towers of the World Trade Center. Balancing himself over 1, 000 feet in the air, Petit made eight passes between the skyscrapers over the course of 45 minutes before his arrest by the NYPD. James Marsh’s Man on Wire uses archival footage of Petit’s training and performance—as well as staged scenes of Petit and his crew setting up the wires, constructed like a heist film—to show the artist as he planned and executed a death-defying stunt. It is also a portrait of the Twin Towers, which loomed large over New York City for nearly 30 years before the terrorist attack on September 11, 2001. Kurt Cobain: Montage of Heck (2015) Buy/rent on Amazon Buy/rent on iTunes At 27, Kurt Cobain was one of the most famous musicians on the planet—a status that he would have rather avoided, and a level of fame that, along with his mental illness and drug addiction, led to his downfall. Two decades after his suicide, Montage of Heck attempts to piece together a portrait of Cobain, one told by the loved ones he left behind (including his Nirvana bandmates), as well as his personal audio recordings and juvenilia. Rather than hold Cobain up as a rock and roll saint and the typical doomed artist, the documentary gives insight into his mental health, his artistic expression, and his infamous relationship with his wife, Courtney Love. The Overnighters (2014) Buy/rent on Amazon Buy/rent on iTunes Director Jesse Moss examines the residents of Williston, a small town in North Dakota that saw a huge population spike following an oil boom in the midst of the recession. With jobseekers flocking to the town and overwhelming Williston's housing market, the town's locals turned against their new neighbors—with the exception of Jay Reinke, a Lutheran pastor who offered up the confines of his church as a sanctuary for the town's newest residents. The Overnighters looks at what exactly defines a community for those who live on its margins and those who decide on its borders—and shows that one's good intentions often force a blind eye to the realities of the modern world. Best Worst Thing That Ever Could Have Happened (2016) Buy/rent on Amazon Buy/rent on iTunes Lonny Price's dreams came true when he landed one of the lead roles in a brand-new Stephen Sondheim musical, directed by the composer's frequent collaborator Hal Prince. When Price and his fellow cast members (many teenage actors making their Broadway debuts, including future Seinfeld star Jason Alexander) opened Merrily We Roll Along in 1981, they expected it to the first in a long line of career successes. The show, however, was a flop, and a massive disappointment for Sondheim's fans—and the show's cast. Years later, Price caught up with his fellow cast members to look back at the start of their careers in this touching examination of how life is full of peaks and valleys—and how we learn the most about ourselves in the face of major setbacks. I Am Not Your Negro (2016) Buy/rent on Amazon Buy/rent on iTunes Raoul Peck's Oscar-nominated documentary is part film essay, part biopic, with Samuel L. Jackson narrating the words of acclaimed novelist and social critic James Baldwin. Using Baldwin's unpublished manuscript Remember This House, I Am Not Your Negro tells the story of American identity through Baldwin's eyes, looking at the lives and deaths of Medgar Evers, Malcolm X, and Martin Luther King, Jr. alongside Hollywood-produced images delivered to the American public on screens across the nation. While Baldwin's heroes (and peers) sought to change the way black identity was seen at large, Baldwin felt he was fighting a losing battle against a culture that valued white supremacy. Capturing the Friedmans (2003) Andrew Jarecki set out to make a light-hearted documentary about birthday party clowns. When he began researching one of his subjects, David Friedman, he discovered a more interesting—and disturbing—story: Friedman's father and brother, Arnold and Jesse, had been convicted of child sexual abuse in their Long Island hometown. Culling together interviews with the police that investigated the Friedmans and the victims in the case—and combining those conversations with the family's home videos archives— Capturing the Friedmans offers a compelling look at a family falling apart when secrets and lies bubbled up to the surface. Gleason (2016) Buy/rent on Amazon Buy/rent on iTunes New Orleans Saint Steve Gleason achieved near-holy status when he blocked a punt in a game against the Atlanta Falcons—the first the team played in their hometown after Hurricane Katrina. Years later, at the age of 34, Gleason was diagnosed with ALS—otherwise known as Lou Gehrig's disease. Direct Clay Tweel followed Gleason and his wife, Michel Rae Varisco, after they learned of Gleason's diagnosis—and of Varisco's pregnancy with their son, Rivers. The result is a heartbreaking yet ultimately triumphant film about a man who symbolized for New Orleans refusal to admit defeat—and for his loved ones, the strength to survive in the face of a debilitating illness. Jiro Dreams of Sushi (2011) Buy/rent on Amazon Buy/rent on iTunes Enter the world of Jiro Ono, the 85-year-old master chef of Tokyo's Sukiyabashi Jiro, a 10-seat sushi restaurant that has earned three Michelin stars and worldwide acclaim. The documentary focuses on Ono as he continues to perfect his cuisine, a passion that has driven him throughout his career. It also looks toward the future of the Ono legacy, as Jiro's sons, Yoshikazu and Takashi, followed in their father's footsteps to become sushi chefs in their own right. Life, Animated (2016) Buy/rent on Amazon Buy/rent on iTunes Based on Ron Suskind's book about his son, this Oscar-nominated film depicts Owen Suskind who, after being diagnosed with autism at 3 years old, withdrew into a nearly silent state of being. With Suskind and his wife on the verge of losing hope that their son would have a meaningful life and the ability to connect with others, they discovered he responded intensely to the world of animated films—particularly those produced by Walt Disney—giving him a new chance to understand the confounding world around him. The Fog of War: Eleven Lessons From the Life of Robert S. McNamara (2003) Buy/rent on Amazon This Oscar-winning documentary from Errol Morris is a long interview with former U. S. Secretary of Defense Robert McNamara concerning his reflections on his political career—particularly his influence on the United States' involvement in the Vietnam War. Similar to his own memoir, In Retrospect, McNamara offers his view of the conflict—and the complicated nature of war in general—to put the Vietnam War in a larger context within 20th century American history. Sound and Fury (2000) Buy/rent on Amazon Buy/rent on iTunes This Oscar-nominated film follows the Artinians, who across three generations have deaf and hearing members in their extended family. When brothers Peter (who is deaf) and Chris (who is hearing) both had deaf children and considered giving them cochlear implants, they opened up a debate within their family—one that also exists within deaf culture at large. Sound and Fury is a powerful look at how we create communities based on shared experience, abilities, and language, and the importance we place on where we stand within—or outside of—mainstream culture. Koyaanisqatsi (1982) Buy/rent on Amazon Buy/rent on iTunes Godfrey Reggio's Koyaanisqatsi is admittedly more of an experimental film than a documentary. While one might have to appreciate the droning style of a Philip Glass composition (a tough thing to love, I'll concede), the film itself—the first in a trilogy that includes 1988's Powaqqatsi and 2002's Naqoyqatsi —is a cult classic. Taking its title from a Hopi word that means "unbalanced life, " Reggio's film is a juxtaposition of slow-motion and time-lapse images of cities and landscapes across the United States, a manic collection of cinema set to an equally unsettling score from Glass. What one takes from Koyaanisqatsi is personal, and while it may be befuddling, most viewers find it incredibly provocative and mind-blowing. Dear Zachary: A Letter to a Son About His Father (2008) Buy/rent on Amazon Buy/rent on iTunes When Andrew Bagby was murdered by his girlfriend Shirley Jane Turner—and Turner announced that she was pregnant with Bagby's child after his death—filmmaker Kurt Kuenne planned to make a visual scrapbook dedicated to Bagby's son Zachary so that the boy would know how much his father was loved by his friends and family. A tumultuous custody battle between Turner and Bagby's parents ensued—leading to a shocking twist in the family saga—so Kuenne decided to release the film publicly, turning it from a collection of home videos into a beautiful and touching portrait to a lost friend, as well as a staggering and heartbreaking true crime documentary. Bill Cunningham New York (2010) Buy/rent on Amazon Buy/rent on iTunes Bill Cunningham was a notable figure in New York City until his death last year; a Bill Cunningham spotting was almost as exciting as having your picture taken by him. The New York Times columnist, who documented how the city's residents expressed themselves through fashion in their own particular ways, was a cheerful and outgoing presence in the city—serving less as a fashion photographer and more as a cultural anthropologist. This portrait, filmed when he was 80 years old, follows him through the city on his fashionable journeys and offers a look into the man for whom, as Vogue editor Anna Wintour put it, all of New York dressed. How to Survive a Plague (2012) Buy/rent on Amazon Buy/rent on iTunes This Oscar-nominated film is a staggering portrait of the early days of the AIDS crisis, a time when those who lived on society's margins were left to die—largely ignored by the medical establishment and a horrifyingly apathetic government. Director David France, who covered the AIDS crisis as a journalist in the '80s, sheds light on the efforts made by members of ACT UP, who raised awareness of the disease, humanized the men and women afflicted by it, and ultimately changed the course of history by putting pressure on the government to fund medical research. Their work ultimately led to the discovery of treatments that turned an HIV-positive diagnosis from a death sentence to a chronic—and manageable—illness. O. J. : Made in America (2016) Buy/rent on Amazon Buy/rent on iTunes The 2017 Oscar winner for Best Documentary Feature, Ezra Edelman's five-part, seven-hour exposé on the life and legacy of O. Simpson examines the football star's rise and fall—and the murder trial that ripped the country apart in the '90s. Rather than focusing solely on the murders of Nicole Brown Simpson and Ron Goldman and the subsequent trial, this incredible documentary places the Simpson saga into a larger context—highlighting the ways in which it said more about race and American culture than any other event that took place in the second half of the 20th century. The Times of Harvey Milk (1984) Buy/rent on Amazon Buy/rent on iTunes Long before Sean Penn won an Oscar for his role in Gus Van Sant's Milk, director Rob Epstein picked up the same trophy for Best Documentary with his incredible portrait of Harvey Milk, the first openly gay member of the San Francisco Board of Supervisors—and the first openly gay elected official in California history. His political career was cut short, however, when he was assassinated alongside San Francisco mayor George Moscone at the hand of their colleague, supervisor Dan White. But Milk's legacy has endured longer than his brief tenure as a public servant, and his courage and passion for social justice has inspired countless LGBT activists in the four decades since his murder. Harlan County, U. A. (1976) Acclaimed documentarian Barbara Kopple won her first of two Academy Awards for this incendiary look at the 1973 Brookside Strike formed by coal miners employed by the Eastover Coal Company in southeast Kentucky. The film depicts the complex nature of the American coal mining industry at large (a topic very prevalent in today's political climate), as well as the at-times violent clashes between the striking miners (and their wives) and the Eastover supporters and scabs—which left at least one striking miner dead. The Thin Blue Line (1998) Buy/rent on Amazon Buy/rent on iTunes Errol Morris's best known film is, by his definition, a work of non-fiction rather than a documentary. It follows Randall Dale Adams, who at the age of 26 was arrested, convicted, and sentenced to the death penalty for the 1976 murder of a police officer in Dallas, Texas—a crime Adams did not commit. Reenacting the events leading up to the murder and including interviews with Adams and other players in the case, Morris's film made a strong case for a miscarriage of justice—so much so that the case was reviewed a year after the film's release, and Adams's conviction was overturned. Hoop Dreams (1994) This Oscar-nominated feature from Steve James follows two boys in Chicago (William Gates and Arthur Agee) over the course of eight years of their lives. Gates and Agee are recruited from their inner-city high schools to attend the suburban St. Joseph High School in Westchester, Illinois, and play in its renowned basketball program. Hoop Dreams depicts the culture shock Gates and Agee experienced in the predominantly white high school, to which the two boys commuted 90 minutes every day. A modern masterpiece of documentary filmmaking, the film stirred controversy when it was shut out of the Best Documentary category at the Academy Awards—its sole Oscar nomination was for Best Film Editing. The Up Series (1964-2012) Buy/rent on Amazon Buy/rent on iTunes In 1964, Michael Apted profiled 14 children for his Granada Television special 7 Up, viewing the group as representative of England at large across the country's socio-economic system. Every seven years, Apted returned to his subjects (those that chose to participate, anyway) to see how life changed for each one—and how their dreams, fears, and philosophies evolved with time. The Up Series now includes eight films ( 56 Up was released in 2012), and Apted has stated his intentions to continue the project. It remains a fascinating study of how class plays a major role in British culture, but also how the human experience is one that is ultimately universal, despite the specifics that we encounter as individuals. Tyler Coates Senior Culture Editor Tyler Coates is the Senior Culture Editor at.

"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. There’s 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 photographer’s 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 that’s 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 Ray’s loneliness as a symptom the isolation that’s 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. ” Billingham’s images are deep, picturesque, and grotesque, but they’re 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 photographer’s 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 Thatcher’s economic policies. The squalor and claustrophobia of a teeming metropolis is palpable in the film as the family’s 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 Bozek’s 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 people’s styles, Cunningham’s photographs (mostly unpublished until his death) developed into a diverse commentary on the people and the cultural milieu of New York. Faraway from Billingham’s 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 Bozek’s film. It is this sense of discovering, disclosing, and depicting that lends Cunningham’s 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, Cunningham’s 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 didn’t 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. Billingham’s 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 time’s relentless melt”; by freezing a subject in time, the photographer also freezes the subject’s “mortality, vulnerability, mutability. ” Cunningham’s photograph of the then reclusive Greta Garbo in a nutria coat comes to mind. It not only brings the superstar’s 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 Billingham’s photographs, with her tattooed arms on display — defying death and time, yet acutely defined by her mortality. Billingham’s 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. Cunningham’s 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.

Free watch the times of bill cunningham show. Bill Cunningham, the New York fashion photographer known for his shots of emerging trends on the streets of New York City, died on Saturday at age of 87 after being hospitalized for a stroke, the New York Times  reported. Cunningham worked for the New York Times for nearly 40 years, operating 'as a dedicated chronicler of fashion and as an unlikely cultural anthropologist, ' the newspaper said. He was known for wearing his trademark blue jacket and riding around in his bicycle with a small camera bag strapped to his waist. After serving in the Army, Cunningham wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets. Scroll down for video  Bill Cunningham (pictured in July last year) had worked for the New York Times for almost 40 years as a fashion and street photographer. He died on Saturday aged 87 Cunningham (pictured with Anna Wintour at the Donna Karan show during Fashion Week in September 2012) was a 'dedicated chronicler of fashion and as an unlikely cultural anthropologist', the newspaper said After serving in the Army, Cunningham (pictured at New York Fashion Week in February 2015) wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets The photographer (pictured with Wintour in April 2012) chronicled decades of changing trends on the streets of New York City throughout his career A chance photograph of Greta Garbo got the attention of the New York Times and in 1978 he began publishing a regular series of photographs in the paper - eventually becoming one of the most influential figures in the fashion world. 'I've said many times that we all get dressed for Bill, ' Vogue editor-in-chief Anna Wintour said in a 2010 documentary dedicated to Cunningham, called Cunningham New York. Wintour and Cunningham were photographed together when he received the Carnegie Hall Medal of Excellence at the Waldorf Astoria in New York four years ago. Cunningham operated with the conviction that fashion shows didn't happen on runways but on the street - and his essays in the New York Times documented decades of evolving trends on the New York pavements. His keen eyes spotted popular items of clothing ranging from the elegant to the tacky, and his lens capture 'fanny packs Birkin bags, gingham shirts and fluorescent biker shorts', the New York Times said in an obituary of Cunningham Saturday. 'I'm not interested in celebrities with their free dresses. I'm interested in clothes, ' Cunningham said about his own work in the 2010 documentary. Cunningham may have been known to every important figure of his industry, but his own life was a model of asceticism, the New York Times reported. He had breakfast every day at the same deli - Stage Star Deli on West 55th Street, and usually purchased a sausage and egg sandwich and a cup of coffee for less than $3. Cunningham did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives. His single bed was pictured in the 2010 documentary among rows and rows of file cabinets. 'If you don't take money, it can't tell you what to do, ' Cunningham, who also appeared at a launderette, said. Cunningham was born in March 1929 in Boston in an Irish-Catholic family and was the second of four children, the New York Times wrote. Cunningham (pictured in 1989) received a scholarship to go to Harvard but dropped out after only a couple of months. He said people there 'thought [he] was illiterate' when he was, in fact, a visual person According to Cunningham (pictured in September 2012 during New York Fashion Week), fashion shows didn't happen on runways but actually took place on the streets Cunningham (pictured in February 2015 at a Jeremy Scott fashion show) said he wasn't interested in celebrities who wore 'free dresses', but that he actually cared about clothes His first career was making hats, which he began to do in middle school after collecting bits of fabric at a dime store. Cunningham received a scholarship to go to Harvard but dropped out after only two months. 'They thought I was an illiterate, ' Cunningham said according to the New York Times. 'I was hopeless - but I was a visual person. ' Then, he moved in with his uncle in New York and lived with him until the man told him to 'quit making hats or get out of [his] apartment'. Cunningham moved into his own apartment on East 52nd Street, and used it to showcase his creations. At the same time, he began writing a freelance column in Women's Wear Daily as a way to make a bit more money - but quit early in the 1960s after a disagreement with his publisher regarding the comparative merits of designers Andre Courrege and Yves Saint Laurent. Evolving trends meant women were wearing fewer and fewer hats, and Cunningham could tell he would soon have to find a new career, the New York Times reported. He picked up his first camera around 1967 and took photos of the Summer Of Love on the streets.  Cunningham got a few jobs at the Daily News and at the Chicago Tribune before becoming a regular addition to the New York Times in the late 1970s. Editors offered him a staff position repeatedly over the next 20 years, but Cunningham declined, saying: 'Once people own you, they can tell you what to do. So don't let 'em. '   He eventually accepted the offer after getting hit by a truck while on his bicycle in 1994, explaining he needed the position to have health insurance. Cunningham never reported having a romantic relationship. When Richard Press, who directed the documentary dedicated to Cunningham, asked him about his personal life, the photographer replied: 'Do you want to know if I'm gay? Isn't that a riot... No, I haven't... It never occurred to me, ' the New York Magazine reported. The fashion world paid tribute to Cunningham's talent - and his unusual character - after the news of his death broke on Saturday.  'His company was sought after by the fashion world's rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met, ' New York Times publisher and chairman Arthur Ochs Sulzberger Jr said. 'We have lost a legend, and I am personally heartbroken to have lost a friend. ' Many shared pictures and drawings of Cunningham in his blue jacket and next to his bike on social media. Those who had seen him at a fashion show recounted their encounters and spoke fondly of Cunningham's manners. Lena Dunham wrote on Instagram: 'Saw Bill out and about doing his thing for the first time when I was seven - I didn't know who he was but I knew he made everyone important stop and adjust. 'It was the exact same vibe when I saw him a month ago, fancy people suddenly unsure in the presence of this special eccentric. He was powerful but he was gentle and kind. He had vision and he will be missed. ' French fashion blogger Garance Dore, who lives in New York City, also wrote on Instagram: 'Some legends walk by you and you hardly notice them because that's exactly what they want. 'Bill Cunningham was like this, and all his life he was able to keep that fire and the perfect distance from his subject, distance that allowed him to do the work that he did. 'He was always going, going, going, rain, snow, heat, always smiling. ' Wearing a blue jacket and riding a bike became two of Cunningham's trademarks and reflected his stubbornly modest lifestyle. He is pictured in New York City in April this year Cunningham (pictured in July 2014) once said: 'If you don't take money, it can't tell you what to do. ' He had breakfast at the same deli every day and usually bought an egg sandwich and a coffee for less than $3 After getting hit by a truck while riding his bicycle in 1994, Cunningham (pictured right in 2010) finally accepted a staff position at the New York Times, explaining he needed it for health insurance Cunningham (pictured in May this year in New York City) did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives.

Free watch the times of bill cunningham 2017. Free watch the times of bill cunningham tv. Free watch the times of bill cunningham book. Free watch the times of bill cunningham net worth. Free watch the times of bill cunningham live. Free watch the times of bill cunningham full. Free watch the times of bill cunningham actor. Free watch the times of bill cunningham books. Free watch the times of bill cunningham jr. Free watch the times of bill cunningham 2016. Free watch the times of bill cunningham video. Bill Cunningham New York (2010) english subtitile embedded in video (. mp4) Bill Cunningham New York is a 2010 documentary film directed by Richard Press and produced by Philip Gefter. Bill Cunningham New York is distributed by Zeitgeist Films and was released in theaters on March 16, 2011. Living in a tiny corner studio apartment in the fabled Carnegie Hall Studio apartments, New York Times photographer Bill Cunningham sleeps on a makeshift bed among his beloved file cabinets. Within are thousands of negatives of Cunninghamâs shots capturing fashion-forward individuals on the streets of New York, Paris, and Milan. Usually on his Schwinn bike, traversing Manhattan from tip to tip, Cunningham looks for the street fashionistas who bring the pages of glossy magazines to life. Sadly, we learn little about Cunningham, who seems to prefer his anonymity.

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