从开皇大业到贞观之治，从开元天宝到五代十国，一位位铁血豪情的开国名将，一段段发人深思的治国往事，一曲曲激扬奋进的历史交响。江西师范大学教授方志远做客《百家讲坛》，为您精彩讲述《国史通鉴·隋唐五代篇》，班超。

陕西省宝鸡市北郊的一个普通深夜，一声巨响惊醒了睡梦中的村民。第二天人们在封土堆上发现了盗洞，经过文物工作者的现场勘察，爆炸声没能打通厚厚的封土，但还是让人们产生了危机感，文物部门意识到大墓岌岌可危，挖掘工作迫在眉睫。 （《探索发现》 20160331 机关重重——五代秦王陵发掘记（上）） 　　陵原村1号墓中的石门以及精美的墓壁砖雕。石门安装后无法打开，端门由乱石堆砌而成，1号墓主人的安葬仪式是先下葬，后封门。墓室前门发现了许多精美砖雕，莲花图样的地砖。陵墓中的石墓志，上面刻有晋故秦国贤德太夫人墓志铭，证实了墓主人的身份。男性墓主人的墓室让考古队出乎意料，除了墓主人的身份，考古队在里面一无所获。（《探索发现》 20160401 机关重重——五代秦王陵发掘记（下））

陕西省宝鸡市北郊的一个普通深夜，一声巨响惊醒了睡梦中的村民。第二天人们在封土堆上发现了盗洞，经过文物工作者的现场勘察，爆炸声没能打通厚厚的封土，但还是让人们产生了危机感，文物部门意识到大墓岌岌可危，挖掘工作迫在眉睫。 （《探索发现》 20160331 机关重重——五代秦王陵发掘记（上）） 　　陵原村1号墓中的石门以及精美的墓壁砖雕。石门安装后无法打开，端门由乱石堆砌而成，1号墓主人的安葬仪式是先下葬，后封门。墓室前门发现了许多精美砖雕，莲花图样的地砖。陵墓中的石墓志，上面刻有晋故秦国贤德太夫人墓志铭，证实了墓主人的身份。男性墓主人的墓室让考古队出乎意料，除了墓主人的身份，考古队在里面一无所获。（《探索发现》 20160401 机关重重——五代秦王陵发掘记（下））

徐子衿悲痛欲绝之际，收到了系统任务并穿越回和杨胜军大婚当天。徐子衿设计退婚，却在逃婚现场撞到陆寒洲并决定将其拿下，谁知，陆寒洲能听到徐子衿的心声且误以为她是间谍。于是一场爱情碟中谋就此上演

立志打造视频版“中国通史”的《梅毅说中国史》自2019年启动，走过秦汉、魏晋南北朝、隋唐，宋元辽金、明、清、元到今天已播出7季，以英雄人物为主线串起史实，又融合了历史演义小说的结构、风格，刻画和描绘场景、细节、感受，让人仿佛置身于历史现场；不是神化的帝王将相，也不是冰冷的数据，你能在节目中看到历史人物有情的一面：从渺小到伟大，从得意到失意，乱世挣扎中的反省、坚忍和抉择，直到炼成英雄。五代十国，是我们中国历史上一段大分裂时期。在这一时期，朝代与国家之间更迭的速度之快，皇帝非正常死亡之多，世所罕见。短短50多年的时间里，骄兵悍将们为所欲为，称王称帝。中原一带，相继或者平行，出现了后梁、后唐、后晋、后汉、后周五个政权，南方地区陆续还有以吴国、南唐、吴越、闽、南汉、前蜀、后蜀、南楚、荆南九个小国，北方有北汉，总共大约有十个地方割据政权。细细推究，五代各朝各国，内外混战不止，演变错综复杂，触目惊心，故事性很浓，血腥气更浓，确实让我们后人感到无限叹惋。

Ⅰ. "Sleepy" On the way home from work, the fierce anger of the road rage transformed into a huge monster, devouring the roads and buildings. Hurry home. Ⅱ. "Forgotten" Forget. Here. There. Everything. People, like ants, circulate endlessly.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

父亲包著石膏躺在客厅沙发，不愿卸下患者的身份，胜文在驾训班教练车内盯著一旁的教练，他不想面对家裡以及不断在逃避的父亲，但似乎也无法面对身旁这位教练，渐渐的，胜文融入了他父亲的倒影。

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系