The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 　　'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. 　　Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. 　　This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. 　　The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. 　　The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. 　　This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. 　　The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. 　　This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. 　　This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. 　　Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

一个英国人，在伦敦长大，二战期间加入军队在朝鲜战争中的战斗。

克雷格·比贝洛斯将导演根据Greg Rucka同名漫画改编的《女王与祖国》（Queen & Country）。艾伦·佩吉将饰演女主角Tara Chace，一名英国军情六处的女间谍。

雷德利·斯科特商谈执导福斯新片《女王与国家》(Queen & Country)，若谈好了他也将同Chernin Entertainment共同制片。基于Greg Rucka所著同名漫画，聚焦英国秘密情报局特工Tara Chace，她是三个致力于保护英国情报机构的特工组织中的其中一员，在一次暗杀任务重身份被暴露。 参与插画创作的包括Chris Samnee、Carla Speed McNei、Bryan Lee O'Malley，该系列漫画从2001年至2007年共出版了32本，于2002年获得埃斯纳最佳新系列漫画奖。 艾伦·佩吉曾在2013年时商谈出演，当时操刀剧本的是莱恩·康道尔(《殖民地》《宙斯之子：赫拉克勒斯》)，John Rogers(《终极玩家》《猫女》)和Rucka此前也进行过创作，目前剧本的状态不明。

日本，人口总数1.3亿、国土面积 7.8万平方公里的东亚岛国，虽然在地图上看起来是那么的不起眼，却曾是GDP排名世界第二的经济体。相扑、忍者、歌舞伎、寿司，种种带着日本民族特色的事物红遍全世界，对各地的文化都有着重要的影响。它有许多奇怪的地方，也有很多引人深思的现状。如今有这么一部动画短片，从八个方面为世人简明扼要地介绍了奇怪的国家日本的风情。八个方面分别为：个性、东京、餐饮、科技、水、寿司、爱和自杀。 　　每个后面都有翔实的数字作支撑，配上解说简洁风趣的解说，日本别具特色的一面展现世人眼前……

『まんが日本昔ばなし』（まんがにっぽんむかしばなし）とは愛企画センター、グループ・タック制作、MBS毎日放送制作枠にてTBS系列で放送された日本のアニメ作品及びテレビアニメである。 　　（第1期、1975年1月 - 1975年3月） 　　1975年に開始。作詞家の川内康範が監修に携わり、川内の娘で童話作家である川内彩友美が企画。毎回日本各地に伝わる昔話が映像化され、市原悦子と常田富士男の両名が一人で何役もの声を使い分ける独特の語りによって紹介する。スタッフに一流のベテランアニメーターやイラストレーターを多数起用するなど、映像にこだわりのある作品だった。番組内で使われた音楽にも川内の甥である北原じゅんの純邦楽からロック、フォーク、ラテン、クラシックなどを織り込んだ多彩かつ無国籍な音楽が使用され、作品の質の高さに一役買った。 　　毎日放送（MBS）制作で最初はNET（現・テレビ朝日）系列で放映されたが開始から3ヶ月でいったん放映は終了し、9ヶ月のブランクを挟んでTBS系へ移動して再開された。これは、当初の放映分がもともと番組改編の都合で空いてしまった枠の穴埋めとして本来は海外在住の日本人向けとして制作されていたものを放映したためである。その後、反響の高さから改めてレギュラー番組化されるに至った。この間にMBSと朝日放送（ABC）がネットチェンジしていたために全国レベルではNET系からTBS系へ移籍する形になった。再開後の時間帯は後に続く『クイズダービー』、『8時だョ!全員集合』、『Gメン'75』などとともに1970年代、1980年代のTBS系の土曜夜を高視聴率で支えた。

根据噌西健司的同名四格漫画改编，将日本历史上的名人变成猫的故事。于2016年4月开始在NHK教育频道的天才电视节目动画档播出。

2018年的“东京彩虹骄傲”活动，有创纪录的15万人到场，众多性少数群体人士参加，相互交流各自对爱的认识。 　　走到今天的路程，一路上撒满了梦想以自己的方式积极生活的当事者们“爱与苦恼”的故事。 　　被社会视为“异常性爱”的60年代，在男同酒吧打工，深受歧视之苦的卡鲁索麻纪； 　　创刊日本第一本商业男同杂志“蔷薇族”的伊藤文学； 　　80年代，打破同性恋杂志的常识，通过崭新的插画，照亮性少数人群心灵的内藤瑠根； 　　还有传播“出柜”这一新概念的传奇式电台主持人大塚隆史，在伴侣因艾滋病去世后，仍坚持发出自己的声音。还有杂志编辑、女装表演者波旁，热切关注着当下新一代的当事者们。 　　本片通过性少数群体当事者们的各色经历，追溯战后LGBT的历史，思考爱究竟是什么。

小学館刊行の学習漫画『少年少女日本の歴史』を参考に制作されたもので、日本列島の形成から戊辰戦争終結までを扱っていた。

人気ポッドキャスト番組『あんまり役に立たない日本史』が、待望のアニメ化。2025年6月29日より、YouTubeおよび北海道放送（地上波）にて公開がスタートします。「学校では教えてくれない、でも誰かに話したくなる日本史」をテーマに全100話以上配信されてきた本番組。昨年は「JAPAN PODCAST AWARDS」にて優秀賞を受賞し、その後の書籍版も発売即重版を記録。耳で広がった“あんまり役に立たない日本史"の世界が、今度は映像でも楽しめるようになります。アニメ版では、音声だけでは伝えきれなかった“ビジュアル的な面白さ”や“登場人物のしょうもなさ”が爆発。番組リスナーはもちろん、これまで未体験だった方も楽しめる“日本史バラエティ”として仕上がっています。