"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

来自柏林的年轻诺拉在服用一种新的派对药物后从昏迷中醒来，并且不再记得任何事情。当调查员尼克·纳瓦尔和大卫·莱昂哈特发现许多青少年因派对毒品“极乐”的传播而失踪时，诺拉开始调查。她揭开了一个离奇的阴谋：外星人利用这种药物，以受害者的尸体为宿主。

该剧将回到上世纪70年代再续循环之旅。

该剧将回到上世纪70年代再续循环之旅。

电影名称：新的一课 　　导演：王逸 　　编剧：长影第六创作组集体创作 　　主要演员： 　　温伶伟、徐雁、包学广、孙敖、王大力 　　上映：1958年 　　地区：中国大陆 　　颜色：黑白 　　类型：剧情片 　　故事梗概： 　　某大学各系的同学们办起了许多工厂，化学系三年级的木材蒸馏厂也建设成功，并制造出了第一批产品——木焦油。班主席陈翔、朝鲜族同学朴东根等带着新产品向党委报捷。党委曹书记祝贺了他们，同时提醒他们搞尖端性的科学工厂。陈翔回到班里后，召集了全体同学开会讨论。女同学纪桂芳提出搞特种炭黑的大胆创议，得到了同学们的热烈拥护。同学们的大胆设想，受到了观潮派、怀疑派周守方、孙教授等的冷淡对待。但学校党委支持了他们，在系党总支书记王亮老师的具体指导下，开始了建设特种炭黑工厂的工作。朴东根说干就干，会开完了，立刻就找来了大批的资料。系里的童老师起初对同学们的主张也表示冷淡，但在党的帮助下，她也提供了不少资料。同学们积极地钻研资料，党委曹书记告诉他们不要只是一味地钻研书本，应当到已经制成了这种炭黑的煤气工厂去学习，使理论和实际结合起来。陈翔、朴东根、纪桂芳、董志新被派到了煤气工厂学习。他们在劳动模范张师傅、车间主任的大力帮助下，积极学习。同学们的干劲十足，提出了要在三天之内完全掌握特种炭黑的生产过程的口号。张师傅不仅热心地帮助他们学习，而且还关心他们的生活和思想的提高。学习在紧张地进行着。可是，由于煤气厂的生产任务加大，材料不足，因此无法给他们实习材料。同学们就回到学校，动员全班同学到处找原料。在街道居民的大力协助下，他们搜集到了大量材料。陈翔他们在工厂学习；留在学校中的同学们边上课，边开始修建生产特种炭黑的工厂。在修工厂的过程中，他们得到了历史系同学的大力支援。同学们在张师傅废寝忘食的热情指导下，胜利完成了学习任务。张师傅为了帮助他们安装生产设备也来到了学校。陈翔带着他们自己制造的产品，回到了学校，受到了老师、同学们的热烈欢迎。党委曹书记鼓励他们，再接再厉争取更大的成绩。这时，街道居民委员会来请纪桂芳去当他们办的化肥工厂的顾问。这一切，对同学们说来还是新的一课。