这是一个魔法与科学同在的世界。在一个正面临战争的国家里，住着一名相貌平凡但心灵手巧的18岁少女索菲，她在死去父亲所留下的帽子店里工作。一天，索菲在街上偶遇一个美貌的青年，他正是恶名远扬的魔法师哈尔，而索菲爱上了他。当晚，荒地的魔女突然来到索菲家，对她下了诅咒把她变成了90岁的老婆婆。索菲离开了家，机缘巧合之下进入了哈尔的移动城堡，在那里充当勤杂工。通过与哈尔的朝夕相处，索菲渐渐了解到这个魔法师不为人知的内心世界，而哈尔也在索菲的影响下开始改变。战火终于蔓延开了，哈尔投入了战斗，索菲按耐不住心中的担忧，驱动城堡冒险前往寻找哈尔……

继母因无力负担生活，将苏菲和她的两个妹妹都送到了制帽店去当学徒。两个妹妹很快先后就离开了制帽店去追寻各自的梦想，只有苏菲坚持了下来。一天，小镇旁边来了一座移动堡垒，传说堡垒的主人哈尔专吸取年青姑娘的灵魂，所以小镇的姑娘都不敢靠近。 　　一个恶毒的巫婆为了报复苏菲与哈尔见面，用巫术把她变成了一个80岁的老太婆，而且苏菲还不能对别人说出自己身中的巫术。无奈，苏菲决定独自一人逃离小镇。天黑了，虚弱的苏菲没走多远，来到了移动城堡。心想自己已经是老太婆了，苏菲壮着胆子走进了城堡。不想，遇到了和她遭遇相同的火焰魔。两人约定彼此帮助对方打破各自的咒语……

是亚洲旅游台的旅游节目，主持人为锦荣。节目以带着家去旅行的概念规划，以欧洲风行的露营车旅游为主轴，探索欧洲、亚洲、大洋洲三地的着名营地。

S.H.E移动城堡演唱会幕后花絮-城堡里的秘密。

唐冠华在中国福州建立了现实中的理想国“南部生活共识社区”，艺术家于伯公来到这里，实施了一件与社区居民们（音乐人、诗人、导演、僧人、设计师、种植者、建筑师等）一起徒步露营穿越北京,名曰“移動的營地”的作品，一行人从北京朝阳区黑桥村的小树林进发向长城，继而抵达关外的内蒙古希拉穆仁草原。 　　一路办展览、搞派对、思索生活。与北京从事艺术、商业、文化的理想主义者们握手，离开乡村的温床，与硕大的城市温柔的拥抱。试图接近全体人类的底层共识。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )

唐冠华在中国福州建立了现实中的理想国“南部生活共识社区”，艺术家于伯公来到这里，实施了一件与社区居民们（音乐人、诗人、导演、僧人、设计师、种植者、建筑师等）一起徒步露营穿越北京,名曰“移動的營地”的作品，一行人从北京朝阳区黑桥村的小树林进发向长城，继而抵达关外的内蒙古希拉穆仁草原。 　　一路办展览、搞派对、思索生活。与北京从事艺术、商业、文化的理想主义者们握手，离开乡村的温床，与硕大的城市温柔的拥抱。试图接近全体人类的底层共识。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )