总台创新音乐创作综艺《会唱歌的院子》于8月18日19:30档在CCTV-3综艺频道、央视频、央视文艺、央视网首播。一群热爱音乐的人汇聚在一起，深入城市采风，三天极限创作，把生活写成歌，带领观众步入“会唱歌的院子”

吉娜和艾尼娃是活泼可爱的维吾尔族孩子，和哈萨克族的男孩阿登以及汉族男孩蛋蛋一起，四人在机缘巧合之下发现了一颗会唱歌的土豆。这颗土豆激起了孩子们强烈的好奇心，他们决定结伴踏上旅程，前往土豆的生产地，誓要弄清楚土豆唱歌背后的奥秘，给予它一个科学的结识。 　　从吐鲁番盆地到哈萨克草原，孩子们一路前行，经历的重重的困难和波折，也有性命垂危的紧急时刻。与此同时，他们也遇见了对他们倾情相助的好人们，最终，这支探险队顺利的抵达了重点，不仅解开了谜题，孩子们之间的友谊也变得越来越坚实起来。

吉娜和艾尼娃是活泼可爱的维吾尔族孩子，和哈萨克族的男孩阿登以及汉族男孩蛋蛋一起，四人在机缘巧合之下发现了一颗会唱歌的土豆。这颗土豆激起了孩子们强烈的好奇心，他们决定结伴踏上旅程，前往土豆的生产地，誓要弄清楚土豆唱歌背后的奥秘，给予它一个科学的结识。 　　从吐鲁番盆地到哈萨克草原，孩子们一路前行，经历的重重的困难和波折，也有性命垂危的紧急时刻。与此同时，他们也遇见了对他们倾情相助的好人们，最终，这支探险队顺利的抵达了重点，不仅解开了谜题，孩子们之间的友谊也变得越来越坚实起来。

在函馆郊外一家书店打工的我（柄本佑饰演），与我同住一屋的静雄（染谷将太饰演），以及我的同事佐知子（石桥静河）。往来间，佐知子与我渐生暧昧，静雄对佐知子亦暗生情愫……互为朋友和恋人的三个年轻人，和一段带着夏日燥动的肆意青春

本片为「函馆三部曲」特别篇，改编自原作佐藤泰志的首部小说。在港口小镇书店工作的佐知子，被颓废的兼职男吸引，他们之间没有天雷勾动地火，只有恰如其分的心领神会。很快地两人就发展到床上，但没有蜜语、没有事后烟，只有失业室友静雄不经意地加入漫长的夜。仨人青春的费洛蒙，参杂在夜店的酒杯和音乐里、撞球台边、路面电车的街道上，在夏夜蓝调天空下舞动与欢笑。二男一女的三角关系也在散漫、破碎的清晨里，踏著摇晃的步伐，以极不经心的方式寻找出口。

This is a film about an exceptional pig that could sing. Even though he could sing, all people could See in him was roast pork. The pig finds himself in a number of difficult situations, but he is saved at the last minute. In the end, he ends up as do many mi¬sunderstood artists. 　　Zlatko Grgic's comical story of an operatic pig who finally finds a friend, but at a price. 　　1966 First Prize, Leipzig 　　1977 Diploma, New York

This is a film about an exceptional pig that could sing. Even though he could sing, all people could See in him was roast pork. The pig finds himself in a number of difficult situations, but he is saved at the last minute. In the end, he ends up as do many mi¬sunderstood artists. 　　Zlatko Grgic's comical story of an operatic pig who finally finds a friend, but at a price. 　　1966 First Prize, Leipzig 　　1977 Diploma, New York

本片为「函馆三部曲」特别篇，改编自原作佐藤泰志的首部小说。在港口小镇书店工作的佐知子，被颓废的兼职男吸引，他们之间没有天雷勾动地火，只有恰如其分的心领神会。很快地两人就发展到床上，但没有蜜语、没有事后烟，只有失业室友静雄不经意地加入漫长的夜。仨人青春的费洛蒙，参杂在夜店的酒杯和音乐里、撞球台边、路面电车的街道上，在夏夜蓝调天空下舞动与欢笑。二男一女的三角关系也在散漫、破碎的清晨里，踏著摇晃的步伐，以极不经心的方式寻找出口。

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.