The digital revolution of the last decade has unleashed creativity and talent of people in an unprecedented way, unleashing unlimited creative opportunities. But does democratized culture mean better art, film, music and literature or is true talent instead flooded and drowned in the vast digital ocean of mass culture? Is it cultural democracy or mediocrity? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world's most influential creators of the digital era.

讲述从1912年至1927年间李大钊的革命事迹，以及在他引领下的仁人志士、革命先驱士投身于马克思主义伟大事业的故事。

1927年4月26日，距离李大钊被执行绞刑还有38小时。此时，我党各方力量仍在积极组织着对他的营救行动，而敌人也在千方百计对他施以酷刑，但依旧毫无进展。焦灼之时，一个年轻警察进入狱中欲对守常先生施以新刑，而关于守常先生一生的革命回忆，也就此拉开帷幕……

他被西方称作”红色鲁滨逊“。 　　1921年8月14日，李敦白（Sidney Rittenberg）生于美国南卡罗来纳州查尔斯顿的一个犹太家庭。1945年，他在斯坦福大学学习中文后随美军来到中国。第二次世界大战后，经过李先念、王震的介绍，毛泽东、周恩来等人的批示，他成为唯一获准加入中国共产党的美国公民。留华长达35年，其间，他见证了解放战争，大跃进、三年困难时期等历史阶段。1960年代中期，李敦白到达了个人声望的巅峰，积极响应文化大革命的号召，随后遭受批斗，前后两次因“特务”罪名入狱，共达16年，却从未动摇过自己的共产主义理想。1980年，他和中国妻子王玉琳带着孩子回到美国，自1989年开始经营一家咨询公司，接受其业务的客户包括微软、英特尔等美国企业。 　　导演Lucy Ostrander深受1960年代西方高涨的左翼运动影响，成为了一名西方左派知识青年，是西方红色题材的搜罗者和拍摄者。她最终打动了李敦白同意拍摄这部自传体纪录片。91的李敦白希望通过这个纪录片告诉更多的美国人，他要给这个世界留下些什么，并以此作为实现理想的另一种方式。 　　影片于2012年10月在全美大规模巡映。

In 1907, the Russian authorities learn that a revolutionary known as 'Granddad' is living in hiding with his brother. The revolutionary is soon arrested and sent to Siberia. After ten years of struggling to survive in harsh conditions, he is finally released when the Tsarist government is overthrown in February 1917. He is welcomed home as a hero, but he soon finds that even his own son has different views than he does about the future of Russia. 　　The first reel of this film is missing (or "not preserved," as the video says), so it's difficult to appreciate it. One gets the gist of the narrative after a while. What is left of the film begins with the arrest of Grandad, the revolutionary, during Tsarist rule. He's later regarded a martyr when he returns from exile in Siberia after the overthrow of the Tsar. The film ends, with Grandad (and presumably director Yevgeni Bauer) pleading to the Bolsheviks and revolutionaries to continue Russia's involvement in the Great War. Of course, that didn't happen. 　　Most of Bauer's films that I've seen aren't so much of the social realism, message film type. I prefer his death-obsessed tragedies, such as 'After Death,' 'Daydreams' (both 1915) and 'The Dying Swan' (1917). There are still some hints of masterful direction here, such as the low-key lighting. The scenes of snow falling and the photography of the bright snow are lovely. It seems ideal for filming. One of the most beautiful compositions of Bauer's work was such: the snow-covered meeting in 'After Death.' Anyhow, this is not essential Bauer viewing. It's unfortunate that this film is incomplete, but the real tragedy is that Bauer's films in general remain largely forgotten.

本片讲述网络警察安威在调查一起死亡案件时，发现此案与网络诈骗罪犯李吉有关联，随着调查的深入，更大的阴谋浮出水面。随着网络犯罪愈演愈烈，面对严峻的网络安全形势,安威英勇善战，为建网络境地，与犯罪分子展开了激烈的较量。突显了当代网络警察这支年轻的队伍在网络法规的指引下，在维护网络安全和打击网络犯罪工作中作出突出的贡献。

映画では、数多くのラジオ番組に投稿し“伝説のハガキ職人”と呼ばれたツチヤの半生が描かれる。

Blending elements of Gothic horror with the more contemporary ingredients of steampunk, THE ASPHYX has emerged from obscurity to become a cult favorite of the sci-fi/fantasy genre. Utilizing an experimental photographic device, a scientist (Robert Stephens) captures what appears to be the image of the Asphyx, the ancient Greek spirit of the dead. With the help of his adopted son (Robert Powell), he conducts further experiments and conceives of a way to harness the Asphyx and thereby gain immortality. But, as every visionary scientist should know, defying the laws of the natural and spiritual world unleashes dreadful consequences.

映画では、数多くのラジオ番組に投稿し“伝説のハガキ職人”と呼ばれたツチヤの半生が描かれる。

大卫·威尔顿、约翰·艾恩斯沃思和史密斯是一群希望成为皇家空军飞行员的学员之一。然而，大卫的身高感知能力很差，无法控制自己的着陆。因此，他被送到航海家的学校，但发现很难集中精力在他的新工作，由于失去了他的机会是“重要的东西”，飞行员沮丧。他的朋友和老师们一起努力向大卫展示导航员的巨大重要性，这是他在目标城市柏林学到的东西。