Showtime正式宣布续订《国土安全》第7季。

《同性恋安全性行为指南》是教学纪录片的名称，该纪录片由Pride Video的Mike Esser和Tony Carne与 Terrence Higgins Trust于1992年联合制作。该电影由David Lewis导演，Coil公司的John Balance和彼得·克里斯托弗森主演。影片中的安全知识由 Mike Youle指导，Mike Youle是一位专门从事HIV治疗的英国医生。1997年，罗伯特·法尔康纳（Robert Falconer）执导了续集。《同性恋安全性行为指南》对一些原始场景进行了删改，要求BBFC重新审查。

Part of the anthology series "Picture Windows," Joe Dante’s "Lightning" is a Gold Rush tale marking Brian Keith’s final screen role. As an aging prospector strikes it rich with the help of a quick-witted mule, two schemers move in—only to find the animal has the last laugh.

On a winter night in Atlantic City, the manager of a defunct casino must reckon with his parental failures when his unruly son needs help out of an illicit bind.

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Part of the anthology series "Picture Windows," Norman Jewison’s "Soir Bleu" brings Edward Hopper’s painting to life in a tragic tale of a sad clown (Tully) who falls for a trapeze artist trapped in an abusive marriage, leading to a fateful love triangle under the circus tent.

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html