This outrageous comedy stages a soap opera of epic proportions, as one corrupt property developer faces trial for Mexico's violent history. The fourth feature from Santiago Mohar Volkow, Una historia de amor y guerra centres on real estate baron Pepe Sánchez-Campo, whose mega-mall development brings him into conflict with local guerrillas. For once, bribery and a call to Daddy might not be enough to save Pepe – a character more grotesque than the telenovela unfolding around him. Trying to sabotage Pepe's marriage to Constanza, her cousin and lover Teo records Pepe cheating. The resulting chaos precipitates in a burlesque bloodbath involving treachery, talking animals, colonial history and bartering in the afterlife.

The history of Hollywood musical movies, from the very beginning until the 21st century, hosted by Shirley Jones.

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.

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 series heads to the very frontiers of space and science to produce the definitive television history of science fiction, told through its impact on cinema, television and literature, with the help of filmmakers, writers, actors, and graphic artists. Each episode will explore one of the enduring themes of science fiction: time travel; the exploration of space; robots and artificial intelligence; and aliens.

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."