12岁的悦特·泰勒·伯恩斯坦（Cole Jensen）是家里唯一的男孩。他整天被他的姐妹围绕着，和自己分享一个房间的克莱欧·阿纳斯塔西娅·伯恩斯坦（Landry Bender），上高中的姐姐阿曼达·伊丽莎白·伯恩斯坦（Oana Gregory），和最小的妹妹雅斯米·爱里 卡·伯恩斯坦（Mckenna Grace）。悦特每天的生活都和女孩有关系，没人陪他运动，打游戏，粉红色的生日排队，女孩子的生日礼物。。。虽然悦特的好朋友旆斯多（Aaron R. Landon）一直帮助他，但他还是做梦都想要一个好兄弟。在悦特12岁生日那天，他在他的派对上用纯粹好玩的心态定做了一个名叫克斯（Tim Lagasse ）的布偶。结果派对结束不久后竟然有快递员送来了一个会动会讲话的布偶（克斯）。在悦特的要求下他们留下了克斯，但是除了悦特以外没人喜欢他。克斯很喜欢砸东西，他什么都弄坏过。克莱欧和阿曼达早就受不了克斯了，于是她们经常想办法把他送走，但每次都没成功。另一方面悦特也要帮克斯适应学校生活。。。

解放战争时期，广西。国军师管区司令龙耀祖（马吉告 饰）丢失机密文件遭上峰处决，并限其子龙家昌（赵文炘 饰）十日内追回密件。偷出密件的是阿峰（祝新运 饰）、虎仔（常戎 饰）、和兰妹（陈惠珍 饰），地下党农伯（宋德 望饰）要他们把密件十日内送到游击区，后农伯为掩护孩子们壮烈牺牲。三个少年闯过敌人层层设防，扒车混过敌人哨卡，下车时虎仔被敌王参谋（程之 饰）发现，博斗中双方受伤。他们找到丁济平（韩非 饰）医生为虎仔作手术，并将找上门来的王参谋打死，三少年终于来到接头地点。上级派阿妲（何玲 饰）前来接头，不料敌人在河边设下了埋伏......

解放战争时期，广西。国军师管区司令龙耀祖（马吉告 饰）丢失机密文件遭上峰处决，并限其子龙家昌（赵文炘 饰）十日内追回密件。偷出密件的是阿峰（祝新运 饰）、虎仔（常戎 饰）、和兰妹（陈惠珍 饰），地下党农伯（宋德 望饰）要他们把密件十日内送到游击区，后农伯为掩护孩子们壮烈牺牲。三个少年闯过敌人层层设防，扒车混过敌人哨卡，下车时虎仔被敌王参谋（程之 饰）发现，博斗中双方受伤。他们找到丁济平（韩非 饰）医生为虎仔作手术，并将找上门来的王参谋打死，三少年终于来到接头地点。上级派阿妲（何玲 饰）前来接头，不料敌人在河边设下了埋伏......

莱奥纳德·伯恩斯坦是二十世纪美国古典乐坛最杰出的代表，他集钢琴家、指挥家、作曲家及音乐教育家于一身，带来了无数精彩的音乐演绎和令人难忘的经典唱片。伯恩斯坦逝世后，在电视导演与制作人霍尔菲尔德的构思与执导下，于1993年年底推出了这部描述其多重角色的纪录影片，由传奇老牌女星、伯恩斯坦多年的友人洛琳‧白考尔担任旁白。影片除了包括大量伯恩斯坦生前演出、采访与教学的精彩片段，还有1959年带领纽约爱乐赴莫斯科演出的珍贵画面，是深入了解伯恩斯坦不可缺少的珍贵影片。 　　Production : © Unitel

莱奥纳德·伯恩斯坦是二十世纪美国古典乐坛最杰出的代表，他集钢琴家、指挥家、作曲家及音乐教育家于一身，带来了无数精彩的音乐演绎和令人难忘的经典唱片。伯恩斯坦逝世后，在电视导演与制作人霍尔菲尔德的构思与执导下，于1993年年底推出了这部描述其多重角色的纪录影片，由传奇老牌女星、伯恩斯坦多年的友人洛琳‧白考尔担任旁白。影片除了包括大量伯恩斯坦生前演出、采访与教学的精彩片段，还有1959年带领纽约爱乐赴莫斯科演出的珍贵画面，是深入了解伯恩斯坦不可缺少的珍贵影片。 　　Production : © Unitel

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.

Lecture 1 - Musical Phonology 　　Lecture 2 - Musical Syntax 　　Lecture 3 - Musical Semantics 　　Lecture 4 - The Delights and Dangers of Ambiguity 　　Lecture 5 - The Twentieth Century Crisis 　　Lecture 6 - The Poetry of Earth