A witty, exhilarating and mind-expanding exploration of the word of our times - data - with mathematician Dr Hannah Fry. Following in the footsteps of BBC Four's previous gleefully nerdy, award-winning maths films The Joy of Stats, Tails you Win - The Science of Chance and The Joy of Logic, this new high-tech romp reveals exactly what data is and how it is captured, stored, shared and made sense of. Fry also tells the story of the engineers of the data age, people most of us have never heard of despite the fact they brought about a technological and philosophical revolution. 　　For Hannah Fry, the joy of data is all about spotting patterns. She's Lecturer in the Mathematics of Cities at UCL as well as being the presenter of the BBC series Trainspotting Live and City in the Sky, and she sees data as the essential bridge between two universes - the tangible, noisy, messy world that we see and experience, and the clean, ordered, elegant world of maths, where everything can be captured beautifully with equations. 　　Along the way the film reveals the connection between Scrabble scores and online movie streaming, explains why a herd of Wiltshire dairy cows are wearing pedometers, and uncovers the remarkable network map of Wikipedia. What's the mystery link between 'marmalade' and 'One Direction'? 　　The Joy of Data also hails the giant contribution of Claude Shannon, the American mathematician and electrical engineer who, in an attempt to solve the problem of noisy telephone lines, devised a way to digitise all information. It was Shannon, father of the 'bit', who singlehandedly launched the 'information age'. Meanwhile, the green lawns of Britain's National Physical Laboratory host a race between its young apprentices in order to demonstrate how and why data moves quickly and successfully around modern data networks. It's all thanks to the brilliant technique first invented there in the 1960s by Welshman Donald Davies - packet switching - without which there would be no internet as we know it. 　　But what of the future, big data and artificial intelligence? Should we be worried by the pace of change, and what our own data could and should be used for? Ultimately, Fry concludes, data has empowered all of us. We must have machines at our side if we're to find patterns in the modern-day data deluge. But, Fry believes, regardless of AI and machine learning, it will always take us to find the meaning in them.

In the near future, a micro-worker performs tasks that are suggested to her. Between data center maintenance and data processing, she hesitantly searches for ways to feel emotions. Devoid of social links, this world is saturated with data.

19岁的泰奥(Matteo Petrini)满怀创作理想，约翰•方达，布考斯基和比安恰尔迪的传奇故事陪伴他的成长。但突如其来的生活变故让他措手不及：父亲身患疾病，他不得不担起养家糊口的担子。周旋在几份杂工之间，泰奥几乎无暇顾及学业。在他深爱的女孩卡拉(EugeniaCostantini)的帮助下，泰奥却一直没有放弃追求理想。影片描述了泰奥面临的父子关系的微妙转变，求学和工作间的抉择，理想和现实间的挣扎。

“Yours” began with a soundie, a film made for projection in a “film jukebox” in 1945. 　　It was a popular song in its day and, with its sentiment of eternal love, feels poignant in the context of the Second World War and all its separated loves. “Yours” is performed here by the Roberts Brothers and the Bunnell Sisters, who appear to be two sets of twins, and the film’s built-in doubles made it feel right for an experiment I’d been thinking about. 　　What I did was shoot abstract animation literally through the original film. I used a Master Oxberry, once the gold standard of film animation cameras, now sadly verging on extinction. With this camera you can have two rolls of film running at the same time, “bi-pack” — or locked together — at the point of exposure. I shot through the film twice, first through the original and then through a negative of the original. The result is that all the blacks have been replaced by one layer of animation and all the whites by another. The surprise? How indelible the actual soundie is in the final film. It is now visible as the difference between my two replacements. 　　I like to think that I added another twin act. 　　This film and these notes originally appeared in the NYTIMES.COM/OPINION in "The Animated LIfe" by Jeff Scher

“Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.” Living in the United States illegally for over 20 years, Miko Revereza takes the Amtrak train from Los Angeles to New York in this critical moment of hostility against migrants in the country he has come to know as home. The journey seems daring, perhaps reckless, yet urgent and necessary. 　　Conversations with his mother and his own ruminating thoughts reveal the pains his family has been through since their decision to leave the Philippines when he was a young boy. The ‘land of freedom’ viewed from the train is constantly obstructed by the smeared windows and the electric poles that zip in and out of sight. As the train slows down and a border patrol nears the vehicle, the fragility of his status becomes uncomfortably clear.

这部电影的主人公是一个寻找过去记忆的女人。葛露丽在法国生活20年之后回到故乡伊朗北部城市拉什特，首先遇到的是经营相框商店的帕尔哈德。帕尔哈德说葛露丽是他小时候的同学，但葛露丽对此毫无印象。然而帕尔哈德还记得葛露丽小时候的事情，而且还很熟悉葛露丽已经去世的母亲。帕尔哈德就像是他做的相框把照片保存完好一样，所有的记忆也都保存在他的脑海里。然而葛露丽却什么都想不起来，她在帕尔哈德的帮助下，去和曾经认识的人们见面，也逐渐找回了失去的记忆，发现了帕尔哈德的过去。

这部电影的主人公是一个寻找过去记忆的女人。葛露丽在法国生活20年之后回到故乡伊朗北部城市拉什特，首先遇到的是经营相框商店的帕尔哈德。帕尔哈德说葛露丽是他小时候的同学，但葛露丽对此毫无印象。然而帕尔哈德还记得葛露丽小时候的事情，而且还很熟悉葛露丽已经去世的母亲。帕尔哈德就像是他做的相框把照片保存完好一样，所有的记忆也都保存在他的脑海里。然而葛露丽却什么都想不起来，她在帕尔哈德的帮助下，去和曾经认识的人们见面，也逐渐找回了失去的记忆，发现了帕尔哈德的过去。

玛莎是一个来自郊区的女孩，来自一个极端贫困的家庭。她生活在现实中，她关心她的祖母和弟弟，梦想着自己的家庭和丈夫；她非常渴望温暖、爱和关怀。她对自己的重病一无所知。在与挽救她生命的心脏病专家Matvei Sergevich会面后，她的生活突然发生了变化。

玛莎是一个来自郊区的女孩，来自一个极端贫困的家庭。她生活在现实中，她关心她的祖母和弟弟，梦想着自己的家庭和丈夫；她非常渴望温暖、爱和关怀。她对自己的重病一无所知。在与挽救她生命的心脏病专家Matvei Sergevich会面后，她的生活突然发生了变化。