In this parody of documentaries, host Martin Mull discusses the contributions that white people have made to the USA, visits the Institute of White Studies, and follows a typical white family as they go about their everyday lives.

In this parody of documentaries, host Martin Mull discusses the contributions that white people have made to the USA, visits the Institute of White Studies, and follows a typical white family as they go about their everyday lives.

Play by Howard Barker about a sculptor who works to finish off a memorial to the Royalist years, as Cromwell's men break down the surrounding cathedral walls. (from http://ftvdb.bfi.org.uk/sift/title/315346) 　　download: http://britbitsandclips.com/AR_TV.htm 　　script: http://britbitsandclips.com/PityinHistory.htm

Play by Howard Barker about a sculptor who works to finish off a memorial to the Royalist years, as Cromwell's men break down the surrounding cathedral walls. (from http://ftvdb.bfi.org.uk/sift/title/315346) 　　download: http://britbitsandclips.com/AR_TV.htm 　　script: http://britbitsandclips.com/PityinHistory.htm

The definitive documentary on the history of nudity in feature films from the early silent days to the present, studying the changes in morality that led to the use of nudity in films while emphasizing the political, sociological and artistic changes that shaped that history. Skin will also study the gender inequality in presenting nude images in motion pictures and will follow the revolution that has created nude gender equality in feature films today.

The journey of She and Loverboy – a dealer of the sacred flower’s seeds. Led by the invisible force of the kidnapper, she is soon caught in a delusion of their strangely automatic, lonely honeymoon

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

National CPC History Knowledge Competition for College Students is planned and initiated by CCTV, and launched in conjunction with the Party History and Documentation Research Institute of the Central Committee of the Communist Party of China, the Ministry of Education of the People's Republic of China, the National Language Work Committee, the Central Propaganda Department of the Communist Youth League, and the National Federation of Students' Secretariat. It is hosted by Long Yang, has a total of 10 episodes. In the program, in the real and moving stories, you can feel the suffering and glory; in the intense competition, you can learn the knowledge of party history; in the interpretation of authoritative experts, you can feel the power of faith.

A family on the run from a corrupt state takes refuge in a safe house with an evil past — a terrifying last stop on a near-future Underground Railroad.