由袁鸣主持的创业分享节目《爱拼大讲堂》将于今晚21:15开播。首期嘉宾为有着“中国财经界最冷静的一双眼睛”之称的知名财经作家吴晓波，他本人也曾与郑渊洁、郭敬明、韩寒一同入围中国作家富豪榜前五名。

由袁鸣主持的创业分享节目《爱拼大讲堂》将于今晚21:15开播。首期嘉宾为有着“中国财经界最冷静的一双眼睛”之称的知名财经作家吴晓波，他本人也曾与郑渊洁、郭敬明、韩寒一同入围中国作家富豪榜前五名。

《世纪大讲堂》是凤凰卫视中文台一档坚守“思想性、学术性”，有着强烈文化抱负的周播节目，是大中华文化圈的学者阐释独特思想，展示最新学术成果的传播平台。这里是思想的盛宴，学术的殿堂，这里没有任何偏见，强调“独立之精神，自由之思想”，“究天人之际，通古今之变，成一家之言”。自节目录制七年以来，已经邀请了国内外著名的专家、学者、教授260多名，如：最高科技奖获得者袁隆平院士、吴文俊院士以及诺贝尔物理奖获得者杨振宁教授，查尔斯·汤斯教授等等。节目播出几年来，深受观众喜欢，特别是在学术界。

《世纪大讲堂》是凤凰卫视中文台一档坚守“思想性、学术性”，有着强烈文化抱负的周播节目，是大中华文化圈的学者阐释独特思想，展示最新学术成果的传播平台。这里是思想的盛宴，学术的殿堂，这里没有任何偏见，强调“独立之精神，自由之思想”，“究天人之际，通古今之变，成一家之言”。自节目录制七年以来，已经邀请了国内外著名的专家、学者、教授260多名，如：最高科技奖获得者袁隆平院士、吴文俊院士以及诺贝尔物理奖获得者杨振宁教授，查尔斯·汤斯教授等等。节目播出几年来，深受观众喜欢，特别是在学术界。

《法律讲堂》是CCTV12的一档法律知识类栏目，通过专家主题讲座加背景简介的形式，讲述相关法律法规所蕴涵的法理及立法背景、中外司法史话。寓法理和观点于故事中，贴近生活、贴近百姓。

《法律讲堂》是CCTV12的一档法律知识类栏目，通过专家主题讲座加背景简介的形式，讲述相关法律法规所蕴涵的法理及立法背景、中外司法史话。寓法理和观点于故事中，贴近生活、贴近百姓。

《物质》定位十分明确：如何记录一个正处在转型期的国家？如何组织这些松散的材料？1989年前的生活给我们留下了什么？未来有什么希望？应该怎样处理这些“剩下的”图片？ 　　没有平白的叙述，只有导演的只言片语和Charles Ives哀伤的挽歌。导演通过对过去二十年来自己以及其他人拍摄的素材的整理和剪辑，让这些影像自己说话。从最近柏林的骚乱到1989年底亚历山大的大型集会，这是一个群众无视当局的罕见时刻，让人感觉任何事都可能发生。从舞台导演Fritz Marquardt在使《海纳穆勒的日耳曼-死在柏林》登上舞台的联合项目中的初步谈判到今天共和国宫的毁坏。在这部影片中，Heise用他自己的方式回顾了德国历史。从二十世纪八十年起Thomas Heise就开始这项工作，将社会政治问题融合在探索历史的过程之中。以新旧辩证的眼光，Thomas Heise密切的观察，让事件自己说话，为历史创造了更多可能。 　　A slow pan shot sweeps over a piece of wasteland next to a ruin, with the laughter of children playing in the distance: providing the background of these three motifs – childhood, landscape and loss. Then an announcement follows: “Certain things remain as surplus, leftovers that are undeveloped, unfinished. It is the same with images waiting for a story”. These unedited images, the very substance of the film, were made in the margins of other films (his own or other people’s) or shot under the urgent pressure of events. They cover the last twenty years. 　　The space of his Material is precise and well-defined: how to document a country undergoing transformation, how to articulate this scattered material, what is left of Life before 1989 and of the hopes for the future? What should be done with these ‘left-over’ images? 　　Nothing is explained directly, apart from a few rare snatches of the director’s commentary and the elegiac, melancholic music of Charles Ives. Heise leaves these situations caught up in their own intensity: from a recent riot of hoodies in Berlin to the enormous rally in the Alexanderplatz at the end of 1989, showing the crowds defying the authorities in one of those rare moments when there is a feeling that anything could happen; from preliminary discussions with the stage director Fritz Marquardt on a joint project to stage Heiner Müller’s Germania – Death in Berlin, to what remains today of the gutted Palace of the Republic. 　　In Material , Heise has constructed a personal reflection on Germany’s history and on his own method. Thomas Heise has been ploughing this furrow ever since the 1980s in the GDR, weaving together socio-political issues in his exploration of History. In a dialectic of the Old and the New, closely observing faces and letting words deploy themselves, he pays the necessary attention to this gesture, which opens up the material of History itself and its possibilities. 　　Film material shot over a 20 year period, a visual diary, outtakes that just will not leave their creators alone. Put together in a poetic way, in which chronology takes a back seat to sense and atmosphere. History is not a linear sequence but a pile of events.

《物质》定位十分明确：如何记录一个正处在转型期的国家？如何组织这些松散的材料？1989年前的生活给我们留下了什么？未来有什么希望？应该怎样处理这些“剩下的”图片？ 　　没有平白的叙述，只有导演的只言片语和Charles Ives哀伤的挽歌。导演通过对过去二十年来自己以及其他人拍摄的素材的整理和剪辑，让这些影像自己说话。从最近柏林的骚乱到1989年底亚历山大的大型集会，这是一个群众无视当局的罕见时刻，让人感觉任何事都可能发生。从舞台导演Fritz Marquardt在使《海纳穆勒的日耳曼-死在柏林》登上舞台的联合项目中的初步谈判到今天共和国宫的毁坏。在这部影片中，Heise用他自己的方式回顾了德国历史。从二十世纪八十年起Thomas Heise就开始这项工作，将社会政治问题融合在探索历史的过程之中。以新旧辩证的眼光，Thomas Heise密切的观察，让事件自己说话，为历史创造了更多可能。 　　A slow pan shot sweeps over a piece of wasteland next to a ruin, with the laughter of children playing in the distance: providing the background of these three motifs – childhood, landscape and loss. Then an announcement follows: “Certain things remain as surplus, leftovers that are undeveloped, unfinished. It is the same with images waiting for a story”. These unedited images, the very substance of the film, were made in the margins of other films (his own or other people’s) or shot under the urgent pressure of events. They cover the last twenty years. 　　The space of his Material is precise and well-defined: how to document a country undergoing transformation, how to articulate this scattered material, what is left of Life before 1989 and of the hopes for the future? What should be done with these ‘left-over’ images? 　　Nothing is explained directly, apart from a few rare snatches of the director’s commentary and the elegiac, melancholic music of Charles Ives. Heise leaves these situations caught up in their own intensity: from a recent riot of hoodies in Berlin to the enormous rally in the Alexanderplatz at the end of 1989, showing the crowds defying the authorities in one of those rare moments when there is a feeling that anything could happen; from preliminary discussions with the stage director Fritz Marquardt on a joint project to stage Heiner Müller’s Germania – Death in Berlin, to what remains today of the gutted Palace of the Republic. 　　In Material , Heise has constructed a personal reflection on Germany’s history and on his own method. Thomas Heise has been ploughing this furrow ever since the 1980s in the GDR, weaving together socio-political issues in his exploration of History. In a dialectic of the Old and the New, closely observing faces and letting words deploy themselves, he pays the necessary attention to this gesture, which opens up the material of History itself and its possibilities. 　　Film material shot over a 20 year period, a visual diary, outtakes that just will not leave their creators alone. Put together in a poetic way, in which chronology takes a back seat to sense and atmosphere. History is not a linear sequence but a pile of events.

中华民族作为一个有着悠久历史的民族，在千年文明史中积淀了高尚的传统美德和优秀的民族精神，诞生了许许多多历史故事，这些历史故事用各种方式传承了下来。然而随着传播方式的多样化，外来文化传播途径与传播手段的影响力正在不断加强，历史故事的影响力正在不断弱化，中国人不了解中国的悠久璀璨历史文化的现象在青少年中愈演愈烈。如何在国人心中，特别是在青少年中重塑中华文明，变得愈来愈紧迫。

中华民族作为一个有着悠久历史的民族，在千年文明史中积淀了高尚的传统美德和优秀的民族精神，诞生了许许多多历史故事，这些历史故事用各种方式传承了下来。然而随着传播方式的多样化，外来文化传播途径与传播手段的影响力正在不断加强，历史故事的影响力正在不断弱化，中国人不了解中国的悠久璀璨历史文化的现象在青少年中愈演愈烈。如何在国人心中，特别是在青少年中重塑中华文明，变得愈来愈紧迫。