2006年6月在Annecy国际动画电影节上评选出的“动画的世纪·100部作品”第九名。

Ryan Gander OBE is a leading conceptual artist. He creates artworks full of symbolic meaning - images, sculpture, installations and films that may appear to be about one thing, but contain further messages for the thoughtful. And this, he believes, is why he is "big in Japan." Ryan believes he is appreciated there because the country has a highly sophisticated visual culture, expressed through images and symbols that broadcast cultural messages to the world, as well as to the Japanese themselves. The geisha and the samurai are obvious examples; bullet train, tattoo art, and Tokyo street style are less so. The exploration of these signs and symbols takes him 6,000 miles east of his Suffolk studio, to investigate how Japanese visual culture is closely linked to a special relationship with time, as the country's past and future inform its present tense. The journey begins at Tokyo and the famous Scramble Crossing at Shibuya, where crowds race across a huge junction. It looks like chaos, but it's actually an affirmation of an unwritten Japanese code of civic conduct and an underlining of the power of Buddhism, and the state religion, Shinto. Visiting a series of temples Ryan investigates the teachings of Shinto, a word which means Way of the Gods, and demands civic responsibility of citizens who have always lived cheek-by-jowl in Japanese cities. Cleanliness is famously of special interest to the Japanese. In pursuit of the meaning behind everyday objects, Ryan visits a shop selling humble cleaning cloths that are nevertheless beautifully printed, raising chores to the level of art. At a primary school he observes students gleefully cleaning their classroom between lessons, aware of their shared obligations as citizens. In a film that allows him to make unexpected connections between subjects, musing on a society that appears to march in step leads to those who don't - the Yakuza. These gangsters are despised for their lack of civic sense, yet are frequently on hand with earthquake relief and in plain sight at religious festivals. Ryan's interested in their tattoos, exquisite designs that in the West would be a source of pride, but which here exclude the wearer from beaches and bathhouses. He meets an art collector for whom he designed a simple tattoo that nevertheless suggests to other citizens that this law-abiding businessman is a friend to outlaws. Will perceptions ever shift? They might, as change is an important factor in Japanese culture. In Kyoto, Ryan discovers that the meaning of even the powerful geisha has changed. He arrives expecting a therapist-entertainer-confidant, but learns that today these powerful businesswomen are now most frequently found in conference centres delivering PR messages. Their traditional role is now partly filled, he believes, by soft-spoken host boys in Tokyo night-clubs. Dr Angus Lockyer, lecturer at the School of African and Oriental Studies, explains that the Japanese live in the present, savouring the moment, a mindset reinforced by their home-grown religion, in a country that is in constant geological peril. This is the only nation to have experienced the horror of instant change by thermonuclear means, symbolised for Ryan by the small pocket watch stopped by the detonation, exhibited in a Hiroshima museum. Ryan makes another turn, noting the Japanese ability to move on, evidenced in their embrace of nuclear power within a decade of the bombings, and by the emergence in 1954 of the mutant Godzilla. Spawned in nuclear disaster, the saurian was, to Japanese movie-goers, also an agent of change with messages about endings and new beginnings. What Ryan labels a fixation on novelty is also explored through distinctive Tokyo street fashion, and with a deconstruction of the cherry blossom fever that breaks out every spring, impelling droves of city-dwellers to leap onto trains bound for the trees. Ryan links the interest in rejuvenation with an urgent issue facing the nation - they have the greatest population of aged citizens and a fast-falling birth rate. Since the Japanese economic crisis of the nineties, the certainties of a corporate job for life are gone, and with it the hopes of up to a million would-be workers, the Hikokomori, who lock themselves in their bedrooms to avoid the new, uncertain world. Perhaps, says the artist, they should look to the past for inspiration, and the message of the samurai. This A-list icon speaks of individualism, courage and iron will. But Ryan also finds him in toy stores in the form of robotic Gundam figures, and then, with the head of design at Nissan, injecting his aesthetic into auto bodies. The robots that we fear might be about to take over are welcomed in Japan, their futuristic qualities tempered by their ancient inheritance - here to protect and serve, nothing more.

一部惊人的完美融合真人与纸剪动画的影片， 　　捷克超现实主义动画大师杨·史云梅耶最新作品， 　　2010年威尼斯影展官方选片，台湾金马影展观摩电影 　　影片介绍 　　梦真的是现实所无法达成欲望的满足吗？影响蒂姆·波顿、泰瑞·吉列姆等奇幻名导至深的捷克超现实主义动画大师，再度以其结合真人演出和剪纸动画的拿手好戏，带来一出中年男子沉迷梦境的‘精神分析喜剧’，大剌剌地揶揄佛洛伊德、容格与满口‘潜意识’的心理医生，以一贯的诙谐犀利与荒诞奇想，打造横跨梦境与现实的生存法则！

Michelin-starred chef Angela Hartnett tackles sell-by dates with the US military, greengrocer Chris Bavin heads to Australia to see the world's leading robotic farm, technology expert Shini Somara is in Shanghai, where she's immersed in the restaurant of the future, and Dara is in Britain's largest hi-tech farm to see the secret of growing hundreds of thousands of tonnes of fruit and veg - without any soil.

暂无剧情简介

据统计中国现在的网络红人已超过100多万人。他们活跃在时尚、美食及教育等方方面面。其中那些具有极高公众影响力的，被称为KOL，即“关键意见领袖”。近年来，因为其特殊的亲民性和互动性人气飙升，甚至成为95后年轻人最向往的新兴职业。如今，随着网红行业的快速发展，相关经济产业也正发生着巨大变化。本期节目我们将带您走近网络视频直播行业的最前沿，一睹其独特的发展之道。

2008年，金融危机的烈火，转瞬间便延烧到了汽车业界，旺盛的汽车需求一气萎缩，通用汽车等三巨头陷入经营危机，在美销售收益不断上涨的丰田等日本企业，也遭受深刻打击。 　　这种情形为什么会发生。通过对当事者的采访，显露出来的是，为使长期以来的经营模式苟延残息，而虚构出来的虚假消费，为了提高营业额，把车贷审查放宽到极限，与华尔街勾结，推广证券化的贩车体制，这一切因这次金融危机，而一气土崩瓦解。 　　时代正朝着新的商业模式急速迈进，投资巨头也投身其中，瞄准业界重组，对电动车等环保节能车新时代的摸索，正加快步伐。本片通过现场的动向，显示汽车业界正在发生的历史性大转变。

Birth: it's a miracle. A rite of passage. A natural part of life. But more than anything, birth is a business. Compelled to find answers after a disappointing birth experience with her first child, actress Ricki Lake recruits filmmaker Abby Epstein to explore the maternity care system in America. Focusing on New York City, the film reveals that there is much to distrust behind hospital doors and follows several couples who decide to give birth on their own terms. There is an unexpected turn when director Epstein not only discovers she is pregnant, but finds the life of her child on the line. Should most births should be viewed as a natural life process, or should every delivery be treated as a potential medical emergency?

讲述因新引进的人工智能客户服务员，而要守住工作岗位的客户服务员朴诚实，孤军奋战地提前面对让她面临危机的产业革命故事。