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.

节目以“校史见国史”为独特叙事主线，选取北京大学、清华大学、复旦大学、浙江大学、华中科技大学、大连理工大学、重庆大学、中国石油大学（北京）、东北大学、南京航空航天大学等十所高校作为叙事载体，通过回溯这些高校的发展脉络，全景式展现新中国从艰难创业到蓬勃发展的壮阔征程。

罗兰．约菲导演的史诗式宗教冒险片，两位男主角形象虽有点典型化，内容也有点庞杂，但映象十分壮观，某些场面的摄影美得让人窒息，杰瑞米．艾恩斯与罗伯特．德尼洛的对手戏也精彩可观。剧情描述十八世纪时，西班牙教士嘉比尔奉派到南美洲丛林为瓜拉尼族人建立教会。他碰到了奴隶贩子罗多萨，带着这个因为杀了弟弟而深感内疚的汉子一起前往目的地修行赎罪。当他们的传教任务稍具规模时，葡萄牙与西班牙政府却因为殖民地冲突而在当地发生战争屠杀，结局十分悲怆。

中国的在校生有三千五百万。在这个系列中，我们只把焦点放在几个学生身上。 　　《中国学校》以安徽省一个小镇为缩影，集中拍摄了一组家庭、老师、孩子们一个学年的生活。 　　这个故事里有艰难痛苦也有欢乐喜悦，通过它可以了解中国成千上万个同它一样的学校。不仅对一群孩子和一个小镇的印象有了新的了解，而且能见到中国教育鲜为人知的一面。 　　There are 350 million children enrolled in education across China, and, in this series, we focus on just a few of them. 　　Chinese School takes as its subject one small town in rural Anhui, and focuses on the lives of a group of families, teachers and children during the course of a single academic year. 　　The schools are schools like many thousands of others across this vast nation, but through the individual stories of hardship, joy and success, an extraordinary portrait emerges, not just of a group of children and a town, but of a side of the Chinese nation seldom seen.

中国的在校生有三千五百万。在这个系列中，我们只把焦点放在几个学生身上。 　　《中国学校》以安徽省一个小镇为缩影，集中拍摄了一组家庭、老师、孩子们一个学年的生活。 　　这个故事里有艰难痛苦也有欢乐喜悦，通过它可以了解中国成千上万个同它一样的学校。不仅对一群孩子和一个小镇的印象有了新的了解，而且能见到中国教育鲜为人知的一面。 　　There are 350 million children enrolled in education across China, and, in this series, we focus on just a few of them. 　　Chinese School takes as its subject one small town in rural Anhui, and focuses on the lives of a group of families, teachers and children during the course of a single academic year. 　　The schools are schools like many thousands of others across this vast nation, but through the individual stories of hardship, joy and success, an extraordinary portrait emerges, not just of a group of children and a town, but of a side of the Chinese nation seldom seen.

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」。

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……

Professor Diarmaid MacCulloch explores how Christianity has shaped western attitudes to sex, gender and sexuality throughout history