This is one of seven major propaganda films made by the Department Of Defense during World War II, and it's directed by Frank Capra. 　　In this installment of the "Why We Fight" propaganda series, we learn about the country of China and its people. With a brief history of the country, we also learn of why the Japanese wanted to conquer it and felt confident about succeeding. Finally, the history of the war in that theatre is illustrated and shows the stiff determination of the Chinese who use all their resources to oppose Japanese aggression to the end.

香港电台与政府新闻处联合制作，《抗战胜利80周年微短剧 - 抗战》即将上演。故事以香港沦陷为背景，讲述原本打算举家逃离香港的鱼片，与失联的堂兄鱼毛重逢，随后跟随堂兄加入了游击队。目睹村民遭受日军残害，鱼片渐渐萌生了爱国之心。

香港电台与政府新闻处联合制作，《抗战胜利80周年微短剧 - 抗战》即将上演。故事以香港沦陷为背景，讲述原本打算举家逃离香港的鱼片，与失联的堂兄鱼毛重逢，随后跟随堂兄加入了游击队。目睹村民遭受日军残害，鱼片渐渐萌生了爱国之心。

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.

《大抗战》作为一部纪录片集完整性、概括性和权威性于一体，本着实事求是、用史实说话的态度，挖掘出1000余小时由各国记录的战场原声影像、10万张高清真实照片，整理手稿、通讯、报纸文摘等重要文献千余份。以时间为经、以事件为纬、以人物为切入点，用新视角、新理念、新资料、新技术,对从“九一八”事变开始至日本投降的14年抗日战争，进行全面系统、客观生动的历史回顾。

《大抗战》作为一部纪录片，本着实事求是、用史实说话的态度，挖掘出1000余小时由各国记录的战场原声影像、10万张高清真实照片，整理手稿、通讯、报纸文摘等重要文献千余份。以时间为经、以事件为纬、以人物为切入点，用新视角、新理念、新资料、新技术,对从“九一八”事变开始至日本投降的14年抗日战争，进行全面系统、客观生动的历史回顾。

1938年，万氏兄弟先后为中国电影制片厂（简称“中制）绘制了四集《抗战标语》卡通和七集《抗战歌辑》。《抗战标语》是运用动画片的样式，进行抗日救国宣传，使抗战标语在银幕上活动起来，新颖别致。

1938年，万氏兄弟先后为中国电影制片厂（简称“中制）绘制了四集《抗战标语》卡通和七集《抗战歌辑》。《抗战标语》是运用动画片的样式，进行抗日救国宣传，使抗战标语在银幕上活动起来，新颖别致。

本片是一部1938-1945年《新华日报》中的川盐增产救国纪实，是一段不应被遗忘的历史。《新华日报》是中国共产党从抗日战争初期开始在国民党统治区公开出版的唯一的党报，从诞生起，就肩负着在国统区错综复杂的条件下，以多种方式、途径，宣传中国共产党的主张，开展统一战线工作的重要使命。1938-1945年，《新华日报》持续采访报道四川自贡的人民在日本“盐遮断”大轰炸中，举全城之力苦干苦撑的生产救国历史。本片秉承记录者视角，首次采用AIGC技术打破时空壁垒，挖掘大量史料，生动再现四川盐业以其超强韧性应对国难危机的最壮丽篇章。