Georg Kaiser decribes in his Expressionist theater play the attempt of a bank cashier to escape his middle class daily life. Director Karlheinz Martin's adaptation transfers Kaiser's play into an Expressionist film of radical stylization. The German film industry was so irritated by the result that the film never found a distribution and was never shown in German cinemas. The only existing print of this classic survived in Japan where the film received a cinema release and was preserved by the National Film Center. 　　The material world of Von morgens bis mitternachts seems like a hallucination and as such is characterized as deliberately banal as well as fragile, unfinished and unstable. The architect Robert Neppach used the dazzling simplicity of the painted décor to illustrate the nature of things, social and human relationships. Here, the bank reveals itself as a life-sucking dungeon, the fence at the cashier's house accentuates a prison, itself trapped in its own location. The unreal, painted rays of light on the hotel staircase leading to the lady's room simultaneously illustrate desire and the absence of any kind of basis for it. Strong contrasts, distorted forms and perspectives indicate structures of reality without depicting a different, fantastic nature, and condense them to such an extent that "the fabric of the outer world" becomes discernible. 　　Light, costume and makeup design corresponded to the graphic concept and the sharply contrasting emphasis on light and darkness. Also the cashier's clothes, contoured with stripes of white paint, seem torn, appearing to mirror his mental constitution. Even if the characters have not quite discarded their "organic form" completely, producer Rudolf Kurtz had a point: they "are parts, formal elements of a decorative thought process, they are part of a three-dimensional image, are torn by flecks of light and stripes which have been painted onto them." The cashier's makeup complies with the graphic black and white contrasts. His white face, his panda eyes, the black contour lines along his brow and the bridge of his nose and a rampant moustache characterize a person who is socially deformed and yet thirsty for life. The remaining characters also have their respective social characteristics painted on their faces in drastically emphatic and exaggerated physiognomic detail. Even the most dazzling light effects are not used to form three-dimensional space but accentuate lines and details of graphic image composition in accordance with the décor of the set. 　　The main stylistic problem in almost all explicitly antinaturalistic films is how the actor, who can only artificially exaggerate his natural physiognomic traits to a certain extent, can be integrated into the image composition. In no other film in the tradition of narrative cinema outside the fantasy genre has this been done so obviously as in Von morgens bis mitternachts, where the actors have also formally become part of the concept of décor and image. Ernst Deutsch in the role of the cashier dissolves his movements into tense and then suddenly explosive gestures; he emphasizes, lengthens, or accelerates single details and never presents an organic, overall sequence of movements. The black, mimic lines on his face, mainly his cheekbones and his eye sockets, which essentially characterize the gaunt face of the actor, are painted onto a chalky white face, giving him the appearance of a woodcut. The ambivalent role of the cashier; the change from an initially geriatric appearance, full of burning inner intensity in the first part of the film, to a younger exterior filled by the advancing senility of the desired inner fulfillment, was portrayed to its fullest extent by Ernst Deutsch. His amazing ability to "age so suddenly and terribly" had already been noted in his rebellious youthful roles in expressionist plays. 　　Karlheinz Martin also used images composed with the help of cinema technology to a great extent, whenever they could be integrated into the artificial style concept, such as the footage of the sixday race, with the rush and ecstasy of the spectators addicted to entertainment. Different camera perspectives show several terraced rows of seats in historical structure, where the social stratum of the privileged class, the bourgeoisie, the petty bourgeoisie, and the proletariat is illustrated and the accelerated rhythm of the movement of the camera suddenly becomes a vertiginous ride in a paternoster. The race itself has an accentuated cinematic form. The cashier says in Kaiser's drama: "I see a circle and a gaudy wavy line." It is displayed in a totally darkened room which illustrates an abstraction of a racetrack as an elliptical warped strip of dazzling light. The cyclists appear racing through this set in lap-like internals. The whole scene was filmed through a mirror or a convex lens, giving an unreal, distorted impression of the race. Lotte Eisner described this scene as follows: "The cyclists are transformed into an anamorphosis, they are stretched and through the magic of light and with the help of a distorting lens they become sparkling facets." 　　Von morgens bis mitternachts may have enriched the development of cinema-aesthetics, nevertheless a public showing never took place in Germany in the 1920s. Producer Rudolf Kurtz blamed the radical use of real human beings as a design element in the construction of the film image for the reluctance of cinema owners to show Von morgens bis mitternachts: "This moving around of human beings which only serve as formal elements, obstructs any access to the film." The effect of coldness and strangeness resulting from the unusual, artificial formal restrictions, the denial of three-dimensionality and object arrangement as well as the similarly inorganic and rhythmic-mechanical acting style was a deliberate calculation. It sums up rather precisely the intentions of this production: to illuminate frozen and grotesque images of society with the same dazzling light as desperate, and hence equally distorted, attempts to break out of a world which is unwilling to change. The fact that the film was ignored by commercial distributors and cinemas set an early limit on the marketability of rigorously abstract tendencies in narrative cinema. 　　Jürgen Kasten

Georg Kaiser decribes in his Expressionist theater play the attempt of a bank cashier to escape his middle class daily life. Director Karlheinz Martin's adaptation transfers Kaiser's play into an Expressionist film of radical stylization. The German film industry was so irritated by the result that the film never found a distribution and was never shown in German cinemas. The only existing print of this classic survived in Japan where the film received a cinema release and was preserved by the National Film Center. 　　The material world of Von morgens bis mitternachts seems like a hallucination and as such is characterized as deliberately banal as well as fragile, unfinished and unstable. The architect Robert Neppach used the dazzling simplicity of the painted décor to illustrate the nature of things, social and human relationships. Here, the bank reveals itself as a life-sucking dungeon, the fence at the cashier's house accentuates a prison, itself trapped in its own location. The unreal, painted rays of light on the hotel staircase leading to the lady's room simultaneously illustrate desire and the absence of any kind of basis for it. Strong contrasts, distorted forms and perspectives indicate structures of reality without depicting a different, fantastic nature, and condense them to such an extent that "the fabric of the outer world" becomes discernible. 　　Light, costume and makeup design corresponded to the graphic concept and the sharply contrasting emphasis on light and darkness. Also the cashier's clothes, contoured with stripes of white paint, seem torn, appearing to mirror his mental constitution. Even if the characters have not quite discarded their "organic form" completely, producer Rudolf Kurtz had a point: they "are parts, formal elements of a decorative thought process, they are part of a three-dimensional image, are torn by flecks of light and stripes which have been painted onto them." The cashier's makeup complies with the graphic black and white contrasts. His white face, his panda eyes, the black contour lines along his brow and the bridge of his nose and a rampant moustache characterize a person who is socially deformed and yet thirsty for life. The remaining characters also have their respective social characteristics painted on their faces in drastically emphatic and exaggerated physiognomic detail. Even the most dazzling light effects are not used to form three-dimensional space but accentuate lines and details of graphic image composition in accordance with the décor of the set. 　　The main stylistic problem in almost all explicitly antinaturalistic films is how the actor, who can only artificially exaggerate his natural physiognomic traits to a certain extent, can be integrated into the image composition. In no other film in the tradition of narrative cinema outside the fantasy genre has this been done so obviously as in Von morgens bis mitternachts, where the actors have also formally become part of the concept of décor and image. Ernst Deutsch in the role of the cashier dissolves his movements into tense and then suddenly explosive gestures; he emphasizes, lengthens, or accelerates single details and never presents an organic, overall sequence of movements. The black, mimic lines on his face, mainly his cheekbones and his eye sockets, which essentially characterize the gaunt face of the actor, are painted onto a chalky white face, giving him the appearance of a woodcut. The ambivalent role of the cashier; the change from an initially geriatric appearance, full of burning inner intensity in the first part of the film, to a younger exterior filled by the advancing senility of the desired inner fulfillment, was portrayed to its fullest extent by Ernst Deutsch. His amazing ability to "age so suddenly and terribly" had already been noted in his rebellious youthful roles in expressionist plays. 　　Karlheinz Martin also used images composed with the help of cinema technology to a great extent, whenever they could be integrated into the artificial style concept, such as the footage of the sixday race, with the rush and ecstasy of the spectators addicted to entertainment. Different camera perspectives show several terraced rows of seats in historical structure, where the social stratum of the privileged class, the bourgeoisie, the petty bourgeoisie, and the proletariat is illustrated and the accelerated rhythm of the movement of the camera suddenly becomes a vertiginous ride in a paternoster. The race itself has an accentuated cinematic form. The cashier says in Kaiser's drama: "I see a circle and a gaudy wavy line." It is displayed in a totally darkened room which illustrates an abstraction of a racetrack as an elliptical warped strip of dazzling light. The cyclists appear racing through this set in lap-like internals. The whole scene was filmed through a mirror or a convex lens, giving an unreal, distorted impression of the race. Lotte Eisner described this scene as follows: "The cyclists are transformed into an anamorphosis, they are stretched and through the magic of light and with the help of a distorting lens they become sparkling facets." 　　Von morgens bis mitternachts may have enriched the development of cinema-aesthetics, nevertheless a public showing never took place in Germany in the 1920s. Producer Rudolf Kurtz blamed the radical use of real human beings as a design element in the construction of the film image for the reluctance of cinema owners to show Von morgens bis mitternachts: "This moving around of human beings which only serve as formal elements, obstructs any access to the film." The effect of coldness and strangeness resulting from the unusual, artificial formal restrictions, the denial of three-dimensionality and object arrangement as well as the similarly inorganic and rhythmic-mechanical acting style was a deliberate calculation. It sums up rather precisely the intentions of this production: to illuminate frozen and grotesque images of society with the same dazzling light as desperate, and hence equally distorted, attempts to break out of a world which is unwilling to change. The fact that the film was ignored by commercial distributors and cinemas set an early limit on the marketability of rigorously abstract tendencies in narrative cinema. 　　Jürgen Kasten

Band of Brothers - Individual Disc #6 "We Stand Alone Together: The Men of Easy Company & The Making of Band of Brothers" 　　Over a period of two years, Mark Cowen and his crew travelled to 30 U.S. and ten European cities, to interview the veterans of Easy Co. The stories, told by the veterans themselves, create a history of the Second World War from the point of view of this heroic company of men, made famous in the mini-series Band of Brothers.

Band of Brothers - Individual Disc #6 "We Stand Alone Together: The Men of Easy Company & The Making of Band of Brothers" 　　Over a period of two years, Mark Cowen and his crew travelled to 30 U.S. and ten European cities, to interview the veterans of Easy Co. The stories, told by the veterans themselves, create a history of the Second World War from the point of view of this heroic company of men, made famous in the mini-series Band of Brothers.

东西两德合并后，东部瞬间没落。失去工作的青年也失去了生活的目标。随着外籍移民的不断涌入，矛盾日益扩大，仇恨在蔓延。九十年代初期，多个城市爆发了新纳粹主导的排外骚乱活动。本片的背景正是那个时候的罗斯托克。 　　这部近期的德语高分影片获今年的德国电影奖多项提名，并获得最佳男配角奖。

东西两德合并后，东部瞬间没落。失去工作的青年也失去了生活的目标。随着外籍移民的不断涌入，矛盾日益扩大，仇恨在蔓延。九十年代初期，多个城市爆发了新纳粹主导的排外骚乱活动。本片的背景正是那个时候的罗斯托克。 　　这部近期的德语高分影片获今年的德国电影奖多项提名，并获得最佳男配角奖。

故事描述一位女子雅德蕾德威尔森和她的先生盖博，带着两个孩子一起到夏天度假住的海滨房子，打算度过一个恬静的夏天。　　但一段过去难以启口的伤痛却如鬼魅般出现在眼前，接二连三的怪异巧合也相继发生，对于家人即将遭遇不幸事件的强烈预感，让雅德蕾德恐惧到达临界点。　　当他们和朋友泰勒斯一家共度一个令人紧绷的海边聚会后，雅德蕾德和先生及孩子们回到度假小屋休息，却在进入黑夜的房子前，看见令人毛骨悚然的四个人影，正手牵手站立在他们的车道上…

《我们》是一档旨在介绍在中国乃至世界文化、艺术领域卓有成就的女性代表，以及流光溢彩的都市生活中最受女性关注的热点话题的节目。

《我们》是一档旨在介绍在中国乃至世界文化、艺术领域卓有成就的女性代表，以及流光溢彩的都市生活中最受女性关注的热点话题的节目。

一对名为阿德莱德和盖博的夫妻带着孩子到海滨度假，这里曾经是阿莱德莱童年的娱乐场所。在海滨与泰勒一家玩了一天之后，阿德莱德愈发地无法从往昔的伤痛中走出，他越来越觉得自己的家庭将要发生灾难。到了晚上，他们一家甚至看到有四个人手拉手在行车道上站立，似乎有更多诡异的事情等待着他们。