這套引人入勝的歷史系列,保證帶大家以最近距離,審視這個改變二次大戰軌跡的重要日子——還有當年所失去的船艦與生命。為了還原當中的複雜過程,每集我們都分別探討時間軸上的關鍵要點,以求重構這場改變世界的重大事件,亦更深入了解當年日軍突襲背後的驚人故事。 1. Secrecy and Surprise 2. 30 Mins of Hell 3. Declaration of War
《这十年》主题系列节目是由国家广电总局网络视听司指导,芒果TV承制的网络视听节目矩阵,节目聚焦党的十八大以来的非凡十年,讲述以习近平同志为核心的党中央,带领人民所书写的新时代精彩故事。
皮娜·鲍什是世界上最伟大的现代舞编舞者之一,在皮娜逝世十年后,她的两部经典舞蹈作品《在陶里斯的伊菲革涅亚》和《春之祭》分别交给两个舞团重新诠释:德国德累斯顿的森佩尔歌剧院芭蕾舞团和非洲塞内加尔萨布尔斯学院,由皮娜舞蹈团的前舞者指导。德国纪录片导演弗洛里安·海因曾·齐奥布在德国、塞内加尔,记录下了两支舞团的排演过程和最终成果。期间透过对舞者们的采访,侧面展现皮娜舞蹈对他们个人精神的改变。影片结合皮娜生前的历史影像,打通艺术与生活、历史与现在的壁垒,无形中将“做自己”的皮娜精神传递至银幕上下的所有人。
实验性纪录剧情长片《我心我行》,编导/摄影 姚宏易、监制 侯孝贤、主演 许芳宜、特别演出 谢盈萱、陈竹昇、孙翠凤。 舞蹈家许芳宜的半自传的实验性纪录剧情长片,之前在《俗女养成记2》有合作的陈竹昇、谢盈萱饰演许爸许妈。金马59入围最佳摄影、最佳动作设计、最佳原创电影音乐三项。11月11日院线上映。
我们都去过动物园,很多时候都会被里面的各种动物深深吸引。本系列介绍的切斯特动物园是英国最大的市立动物园,也是欧洲最好的动物园之一,这里是两万多只动物的家园,栖息着黑犀牛、长颈鹿、大象、黑猩猩、美洲豹、爬行动物和鸟类等等。在保护濒危物种方面领先世界,这里的饲养员与动物们关系友好,让我们一起观看本系列纪录片,走进动物们的秘密生活。
通过情景重现和陈述,认为自己被恶魔附身的现实中人,讲述了三个女人、她们的亲戚和朋友如何面对现实生活中邪恶力量的故事。故事主角讲述了他们被附身、遭受侵扰和驱魔的经历。
“红毛皇帝”顾东林离过两次婚,独自拉扯着上初中的女儿婷婷。年轻时爱蹦迪的他,如今无聊了只能去公园里蹭别人的音响跳舞。2017年的直播浪潮,将他和舞伴们群魔乱舞的形象推到了公众面前。从此,“尬舞”彻底改变了他的家庭、爱情和生活。
由知名纪录片制作人John Battsek伙拍著名导演Stephen Kijak操刀,由从XJAPAN前年首次登陆美国麦迪逊广场花园(参考本站另一报导)当天开拍的纪录片已定名为《We Are X》。《We Are X》以挖掘X JAPAN灵魂人物、队长YOSHIKI的内心为切入点,细说这个一代霸主乐团的传奇故事。
《远古外星人》第三季,第一集:外星人和美国西部 《远古外星人》第三季,第二集:外星人和怪兽 《远古外星人》第三季,第三集:外星人与圣地 《远古外星人》第三季,第四集:外星人和黄金神殿 《远古外星人》第三季,第五集:外星人和神秘仪式 《远古外星人》第三季,第六集:外星人与古代工程师 《远古外星人》第三季,第七集:外星人、瘟疫和流行病 《远古外星人》第三季,第八集:外星人与失落的世界 《远古外星人》第三季,第九集:外星人与致使武器 《远古外星人》第三季,第十集:外星人与邪恶之地 《远古外星人》第三季,第十一集:外星人与开国元勋 《远古外星人》第三季,第十二集:外星人与死亡邪教 《远古外星人》第三季,第十三集:外星人与密码 《远古外星人》第三季,第十四集:外星人和不死传说 《远古外星人》第三季,第十五集:外星人、众神与英雄 《远古外星人》第三季,第十六集:外星人与人类的起源
边缘之境的故事从一个简单纯粹的念头开始:探索罕有人至的大陆板块边缘,留下高质量的探索记录影像。 重装行进,在北大西洋的禁地,迎着剧烈的海风与云雾起飞,在火山的燃烧结界中,戴着防毒面具前进,多次进入冰川、活火山、峡湾的腹地,在冰岛高地驰骋,在峡湾的山巅伫立。 激情澎湃的探险生活在招手,雷栩、齐雅伦、许天胤三人一拍即合,迅速出发。而事情的发展比计划中要艰难得多,完全陌生的环境,不断出现的突发情况让人心力交瘁。生命常有的荒诞,孤独和动荡感迅速席卷了在路上的三人。 而与此同时,在不断向前延伸的车辙和脚印前,永恒宏大的自然画卷、人类文明的长篇史诗,正在他们眼中徐徐展开。
东莞,中国广东重要的交通枢纽和外贸口岸,中国最具活力的国际化城市之一。过去的二十年来,东莞以高速发展的制造业闻名, 但在“世界工厂”身份之外,这里还隐藏着一个庞大神奇的美食世界。城市美食纪录片《寻味东莞》将以美食作为东莞的城市名片,带领人们探访东莞的地道⻛味,寻找一系列富有传奇色彩的鲜活美食,呈现这方水土过去和现在的碰撞,时间与空间的融合。
October 24, 1944, the world's greatest battle at sea begins in the Philippines. Japan's navy gambles on a decisive victory against the United States to turn the tide of World War II. Instead Musashi, its top secret super battleship, ends up at the bottom of the ocean. How did this unsinkable giant go down so fast? Was it overwhelming American air power? Or a fatal design flaw? Now American deep sea explorers and Japanese military experts are determined to solve this 70-year old mystery. But first they must find the missing Musashi.
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.