"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。

由梦工厂动画製作、根据 Dan Yaccarino 著作《Doug Unplugged》改编的《道格看世界》，设定于一个人类与机器人和平共处的世界，当其他机器人每天都忙于连线、下载知识，这个与众不同的小机械人 Doug 开始对人类世界感到好奇，并因缘际会认识到人类好友 Emma；遇到问题时，Doug 便从电脑系统下载新的知识，Emma 又会引领 Doug 一起体验新事物，二人互相指导，成就充满好奇心与新鲜感的学习过程。

影片《水母眼》是村上隆根据自己孩提时的一个梦境为原型创作的影片，村上导演希望观众可以通过观看这部影片回忆起自己的小时候的梦。故事围绕一名叫正志的小学生展开，小学生正志搬家的时候在一个盒子里发现了神秘的生物，他非常喜欢这个神秘生物并给它取名叫“水母宝宝”。正志搬家后转入了新的学校，一天，他带着“水母宝宝”一起去上学，没想到同班的同学们也带了大人们都看不见的神秘生物“朋友”来到了学校……。 另外，担任创作《水母眼》主题曲的创作者是曾经因为Google Chrome创作主题曲《Tell Your World》而声名鹊起的KZ。

节目选取与世界有紧密链接的湖湘青年，以自我观察的平视视角进行叙事，从“博闻、慎思、明辨、笃行”四个递进式纬度，将青年人对中外文化交融的所见、所思、所想、所行立体化呈现，塑造当代青年勇于以世界为媒，用行动影响世界、改变世界的自信形象。展现当代青年推动中外文明交流互鉴的过程，为推动构建人类命运共同体凝聚青春力量。

一只巨大的猪躺在房前。人类住在这座房子里。住在房子里家庭由爸爸、妈妈、爷爷、六个孩子和狗组成。 　　每个人都知道这只大猪的存在，这只猪也注意到这家人。但他们每一个都不理解另一个怎么想。 　　当妈的不理解当爸的。