Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

An American newspaper correspondent, banned from reporting on the Korean War because she's a woman, struggles to gains special permission from General Douglas MacArthur to work alongside soldiers on the front lines.

讲述了20世纪50年代初，我公安战士与国民党特务斗智斗勇，保卫抗美援朝的生命线-----沈安铁路的动人故事。故事从一场“误杀”开始，“亦敌亦友”的男女主人公不得不在行动中结成生死搭档。意想不到的爆炸、扑朔迷离的电台信息、敌我双方的多重身份，不仅人物关系具备强烈的戏剧冲突，全剧更充斥着精彩刺激的智勇较量和巧妙的悬念营造。

共和国成立之初，我军某大军区高层突然接到紧急命令，在该军区内挑选一批身经百战、身怀绝技的战斗英雄，组建一支执行绝密任务的特殊小分队，任务是接应国民党投诚的一位情报高官，并不惜一切代价，将他所携带的关系到新中国党和国家安危的绝密文件护送回北京。以陆超为队长的小分队7人，个个骁勇善战。小分队不仅经历了敌人所设下的重重陷阱与圈套，也经历了内部惊心动魄的猜疑与激烈的心理较量。这是一次十分特殊且绝对机密的任务，全队上下，只有队长陆超一人知道任务的具体内容。陆超面对自己的同志却不能告诉他们为什么要将队伍故意暴露给敌人，只能眼看着自己的战友在屡次暴露中所受到的生死威胁。绝密文件安全转移了，小分队的任务最终完成。

共和国成立之初，我军某大军区高层突然接到紧急命令，在该军区内挑选一批身经百战、身怀绝技的战斗英雄，组建一支执行绝密任务的特殊小分队，任务是接应国民党投诚的一位情报高官，并不惜一切代价，将他所携带的关系到新中国党和国家安危的绝密文件护送回北京。以陆超为队长的小分队7人，个个骁勇善战。小分队不仅经历了敌人所设下的重重陷阱与圈套，也经历了内部惊心动魄的猜疑与激烈的心理较量。这是一次十分特殊且绝对机密的任务，全队上下，只有队长陆超一人知道任务的具体内容。陆超面对自己的同志却不能告诉他们为什么要将队伍故意暴露给敌人，只能眼看着自己的战友在屡次暴露中所受到的生死威胁。绝密文件安全转移了，小分队的任务最终完成。

一九五零年，抗美援朝时期，国民党反动派制定了破坏我铁路运输及军用物资的“春雷计划”行动。为粉碎敌特阴谋，以韩立冬和刘玉娥为代表的安东铁路公安人…

纪录一座教堂的修复过程。这座位于神户的教堂由安藤忠雄设计，于1986年完工，是他的「教堂三部曲」之一。在这部短片中，我们能够清晰地看到修复之前与重生后的「风之教堂」。

法国犯罪喜剧片。Serge、Lucien、Henri和Max是四个好友，一次抢劫卡第亚珠宝行的行动，虽然计算精妙，却因意外导致马克斯失手入狱，其他三人亡命天涯。25年后，三人一事无成，生活窘迫，某天同时收到马克斯的来信。马克斯已死狱中，然而留下遗嘱，将藏下价值5亿法郎的钻石分于三位老友，条件是找到他的儿子，并当他的教父，考查他的品性，如果过关，Serge、Lucien、Henri就可以和MAX的儿子一起分享这笔巨款，可事情的发展，完全出乎他们的预料……

以陈毅市长等人民执政者为发展上海经济、保障上海的粮食供应夙兴夜寐，殚精竭虑，同时又要防止一系列国民党遗留间谍的破坏和颠覆。如何治理发展这个世界…