n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

本片将一群不拘一格的艺术家、评论家和学者带到了英国郊外，来了解英国人是如何通过艺术来描绘本国的美丽风光的，探究为何英国田园画能到达到如今的崇高地位和影响力。从查尔斯五世时期的佛兰德斯人到数字时代大卫霍克尼的iPad，英国田园风景画将英国的光辉历史显露无疑。电影制作人尼克罗格，历史学家丹斯诺，小说家威尔赛尔富等名人都参与到本片的拍摄中。

本片将一群不拘一格的艺术家、评论家和学者带到了英国郊外，来了解英国人是如何通过艺术来描绘本国的美丽风光的，探究为何英国田园画能到达到如今的崇高地位和影响力。从查尔斯五世时期的佛兰德斯人到数字时代大卫霍克尼的iPad，英国田园风景画将英国的光辉历史显露无疑。电影制作人尼克罗格，历史学家丹斯诺，小说家威尔赛尔富等名人都参与到本片的拍摄中。

2003年的北京，赵小桃坐在单轨列车上给过去的男朋友打电话，声称要去印度。小桃的前男友则告诉小桃自己要去乌兰巴托。而实际上，赵小桃所说的印度是北京世界公园微缩景点中的印度，她那里为游人跳舞表演。前男友要去的乌兰巴托则比北京更往北的蒙古国的首都。二人约着相见，一起吃饭，小饭馆里烟雾弥漫，似乎能掩饰这种告别的忧伤。赵小桃又坐在单轨列车上给现在的男朋友成太生打电话，她说她想见他。成太生是世界公园的保安队长，正在微缩的艾菲尔铁塔上执勤。赵小桃与成太生都来自外地，住在公园里，一起工作、吃饭、游荡、……他们在这座城市里幻想、相爱、争吵、和解。北京城喧嚣的噪音，让人兴奋或是沉默。在这座布满微缩景观的公园内，从金字塔到曼哈顿只需十秒钟，世界其实就是角落。

2003年的北京，赵小桃坐在单轨列车上给过去的男朋友打电话，声称要去印度。小桃的前男友则告诉小桃自己要去乌兰巴托。而实际上，赵小桃所说的印度是北京世界公园微缩景点中的印度，她那里为游人跳舞表演。前男友要去的乌兰巴托则比北京更往北的蒙古国的首都。二人约着相见，一起吃饭，小饭馆里烟雾弥漫，似乎能掩饰这种告别的忧伤。赵小桃又坐在单轨列车上给现在的男朋友成太生打电话，她说她想见他。成太生是世界公园的保安队长，正在微缩的艾菲尔铁塔上执勤。赵小桃与成太生都来自外地，住在公园里，一起工作、吃饭、游荡、……他们在这座城市里幻想、相爱、争吵、和解。北京城喧嚣的噪音，让人兴奋或是沉默。在这座布满微缩景观的公园内，从金字塔到曼哈顿只需十秒钟，世界其实就是角落。

南派三叔“精神病院系列”悬疑启幕！落魄作家搭档鬼马少女，求索世界真相深陷连环死局。诡谲病院、封闭工厂、孤岛囚笼，深渊绝地中他们能否逃出生天，求得谜底？

南派三叔“精神病院系列”悬疑启幕！落魄作家搭档鬼马少女，求索世界真相深陷连环死局。诡谲病院、封闭工厂、孤岛囚笼，深渊绝地中他们能否逃出生天，求得谜底？

原大世界老板秦世明之子秦孝天在出狱三年后重返大世界，想要查出当年父母惨死的真相。在此过程中，他一一找回自己失散的兄弟姐妹，想要一起为父母报仇。只有三妹雪华认为国家民族危亡之际，应该以大局为重，不能只有个人恩怨。当复仇开始，眼看家人因为仇恨而受到伤害，秦孝天越来越强烈地感觉到自己的初衷错了，弟弟秦孝武等人终究没能放弃仇恨。抗战爆发，秦孝天选择在战场上直面枪口；秦家兄妹终于放下仇恨，与曾经的仇人一起抵御外敌。

原大世界老板秦世明之子秦孝天在出狱三年后重返大世界，想要查出当年父母惨死的真相。在此过程中，他一一找回自己失散的兄弟姐妹，想要一起为父母报仇。只有三妹雪华认为国家民族危亡之际，应该以大局为重，不能只有个人恩怨。当复仇开始，眼看家人因为仇恨而受到伤害，秦孝天越来越强烈地感觉到自己的初衷错了，弟弟秦孝武等人终究没能放弃仇恨。抗战爆发，秦孝天选择在战场上直面枪口；秦家兄妹终于放下仇恨，与曾经的仇人一起抵御外敌。