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.

从小生活在乡下的建水如今成为了一名医师，病重的父亲在其任职的医院治疗。父亲临终时，建水因重要的会议错过了陪在父亲身边的机会。伴随着悲伤与悔恨，建水回到故乡，在整理父亲的遗物时无意间发现了时间档案馆的钥匙。通过时间档案员的帮助，建水看到了当初选择陪伴父亲度过最后时光的另一个自己，也看到了父亲留给自己时间存档，泪水不受控制的流下……

从小生活在乡下的建水如今成为了一名医师，病重的父亲在其任职的医院治疗。父亲临终时，建水因重要的会议错过了陪在父亲身边的机会。伴随着悲伤与悔恨，建水回到故乡，在整理父亲的遗物时无意间发现了时间档案馆的钥匙。通过时间档案员的帮助，建水看到了当初选择陪伴父亲度过最后时光的另一个自己，也看到了父亲留给自己时间存档，泪水不受控制的流下……

上海美术电影制片厂1965年出品 　　影片选取了1965年暑假期间中国福利会少年宫举办的“上海市少年儿童革命歌舞交流演出”中的十几个优秀的歌舞表演。本片由四部分组成： 　　第一部分：反映我国少年儿童热爱党、热爱毛主席，听毛主席的话，好好学习，天天向上，从小学习解放军，以雷锋叔叔为榜样，做共产主义接班人。其中包括：《我们是共产主义接班人》、《北京有个金太阳》、《学习解放军》、《我们要做雷锋式的好少年》等4个节目。 　　第二部分：歌颂三面红旗，歌颂工农业生产的伟大成就，少先队员要向工人叔叔、农民伯伯学习，从小刻苦锻炼、热爱劳动，长大要做个有文化知识的劳动者。其中包括：《锻炼》、《要把工人当》、《搬砖》、《万吨水压机诞生了》、《少先队员积肥忙》、《踩秧田》、《小镰刀》、《采棉舞》和《红色少年心向党》等9个节目。 　　第三部分：反映我国少年儿童牢记党的教导，继承光荣传统。其中包括：《共产儿童团组歌》、《印把子和刀把子》等2个节目。 　　第四部分：反映我国少年儿童胸怀祖国放眼世界关心世界革命，反对美帝国主义，坚决支持世界各国人民的革命斗争。其中包括：《杀得美帝回老家》、《战斗吧，越南》、《全世界人民团结起来》等3个节目。

《中国品牌档案》是一档电视纪录片，由北京金镜头文化发展有限公司制作，总导演为孙晓岩。该节目会邀请知名主持人和社会人士等参与录制。栏目会邀请我国各行业的代表性企业，由著名主持人来讲述这些企业的发展历程、品牌特色以及社会贡献。

《中国品牌档案》是一档电视纪录片，总导演是孙晓岩，节目将邀请知名主持人、社会人士等参与录制。栏目邀请我国各行业代表性企业，由著名主持人讲述其发展历程、品牌特色与社会贡献。

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。