The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

胡琳初恋男友杜峰在他们热恋时不辞而别，选择了出国，两人各自结婚，之后杜峰回来找胡琳，并错手杀了胡琳的丈夫，胡琳为了杜峰的前途自己认了罪。现在杜峰又继续纠缠，并不择手段，阻止胡琳和现男友秦越在一起，杜峰妻子了解情况后，公然让胡琳在公司出丑，甚至陷害秦越。

《危险的她》是国内首部女性情感悬疑剧，讲述了四位女性联手复仇，在绝境中自我救赎，扑朔迷离的“设局”故事。陆子聪向律师王琛求助，他怀疑妻子乔薇要“杀”他。三个月前的同学会，乔薇偶遇前男友齐凯，又醉宿Nicole家一夜未归，与乔薇曾有嫌隙的大学同学苏遥，写了一篇公众号文章《 当年的校花今夜去哪儿了》，从此揭开了乔薇“完美婚姻”的虚假面纱，偏执的陆子聪频频家暴。与此同时，Nicole闺蜜何安心发现曾经性侵她的渣男又出现了，乔薇、苏遥、Nicole、何安心机缘巧合走到一起，原来四个女人的命运在多年前就已交织在一起，她们联手反击帮助乔薇摆脱陆子聪的控制，一场离奇的“车祸”，一篇透露“杀机”的公众号文章，此时陆子聪意外目睹了“她们的秘密”，一直协助陆子聪展开调查的律师王琛突然“神秘失踪”。

陆子聪向律师王琛求助，他怀疑妻子乔薇要“杀”他。三个月前的同学会，乔薇偶遇前男友齐凯，又醉宿Nicole家一夜未归，与乔薇曾有嫌隙的大学同学苏遥，写…

一名老富翁过世后，他名下的财产出人意料地留给了服侍他不久的女看护，后者因此陷入了一张充满欺骗与谎言的迷网。为了生存，她必须质疑所有人的动机 — 连她最亲最爱的人也不例外。

一名老富翁过世后，他名下的财产出人意料地留给了服侍他不久的女看护，后者因此陷入了一张充满欺骗与谎言的迷网。为了生存，她必须质疑所有人的动机 — …

在这部纪录片里，大卫·马龙聚焦四位无与伦比的数学家：乔治·康托尔、路德维格・玻尔兹曼、哥德尔和阿兰·图灵。他们的天才光耀千古，他们的智慧深刻地影响了后世的我们。但是当同时代的人用尖刻的、猛烈的批评表达他们的反对意见时，它能产生一种悲剧性的结果，使他们精神错乱，最终都以自杀结束了自己的生命。 　　本片也与目前最著名的学者进行了对话。包括Greg Chaitin——纽约IBM TJ华生研究中心的数学家，以及罗杰·彭罗斯等人，他们仍在孜孜不倦地探寻世上到底是否有数学家不能弄明白的事。 　　《危险的知识》抓住了一些现实的深刻的问题，目前数学家仍在力图给出解答。请看一下下面的信息：这是一部完整的纪录片，只是因为技术原因才分为两部分。观看的时候要看完，而且请不要在看第一部分之前看第二部分。 　　1 of 2　上帝的信使 　　这部片子从乔治·康托尔开始讲起。他是一位伟大的数学家，创立的集合论已被尊为20世纪全部数学的基础。他认为自己是上帝的信使。因为他的老师利奥波德·克罗内克痛恨并敌视他以及他的理论，来自数学权威们的巨大精神压力终于摧垮了康托尔，结果康托尔精神失常，最终被疯狂所驱使，力图证明自己的无穷数理论。事实上，他的晚年是在精神病院度过的。 　　路德维格・玻尔兹曼力争证明原子和概率的存在，而奥斯特瓦尔德和马赫的强烈批评使他深感失望，导致了他最后的自杀。 　　2 of 2　谜团 　　哥德尔是爱因斯坦的一位性格内向的密友，一位智慧巨人。哥德尔定理粉碎了逻辑最终将使我们理解整个世界的梦想，同时也引发了许多富有挑战性的问题。他证明了形式数论（即算术逻辑）系统的「不完全性定理」：即使把初等数论形式化之后，在这个形式的演绎系统中也总可以找出一个合理的命题来，在该系统中既无法证明它为真，也无法证明它为假。哥德尔最终在一家疗养院绝食而死，因为他认为那些食物有毒。 　　阿兰·图灵，恩尼格玛密电码的破译者，计算机科学 “人工智能之父”，同性恋者。图灵为证明一些永远不能被证实的事情而死，外界的说法是服毒自杀，一代天才就这样走完了人生。（献给本文所有伟大而孤独的悲剧英灵。喵喵驴驴译，错误之处烦请各位达人指正，谢谢。部分资料来源于网络。） 　　In this one-off documentary, David Malone looks at four brilliant mathematicians - Georg Cantor, Ludwig Boltzmann, Kurt Gödel and Alan Turing - whose genius has profoundly affected us, but which tragically drove them insane and eventually led to them all committing suicide. 　　The film also talks to the latest in the line of thinkers who have continued to pursue the question of whether there are things that mathematics and the human mind cannot know. They include Greg Chaitin, mathematician at the IBM TJ Watson Research Center, New York, and Roger Penrose. 　　Dangerous Knowledge tackles some of the profound questions about the true nature of reality that mathematical thinkers are still trying to answer today. see notes below:1 documentary, only split for technical reasons. broadcast in 1, watch in 1, get both parts, don't start to watch pt2 before pt1. 　　1 of 2 God's messenger 　　The film begins with Georg Cantor, the great mathematician whose work proved to be the foundation for much of the 20th-century mathematics. He believed he was God's messenger and was eventually driven insane trying to prove his theories of infinity. 　　Ludwig Boltzmann's struggle to prove the existence of atoms and probability eventually drove him to suicide. 　　2 of 2 The Enigma 　　Kurt Gödel, the introverted confidant of Einstein, proved that there would always be problems which were outside human logic. His life ended in a sanatorium where he starved himself to death. 　　Finally, Alan Turing, the great Bletchley Park code breaker, father of computer science and homosexual, died trying to prove that some things are fundamentally unprovable. 　　转自VeryCD

在这部纪录片里，大卫·马龙聚焦四位无与伦比的数学家：乔治·康托尔、路德维格・玻尔兹曼、哥德尔和阿兰·图灵。他们的天才光耀千古，他们的智慧深刻地影响了后世的我们。但是当同时代的人用尖刻的、猛烈的批评表达他们的反对意见时，它能产生一种悲剧性的结果，使他们精神错乱，最终都以自杀结束了自己的生命。 　　本片也与目前最著名的学者进行了对话。包括Greg Chaitin——纽约IBM TJ华生研究中心的数学家，以及罗杰·彭罗斯等人，他们仍在孜孜不倦地探寻世上到底是否有数学家不能弄明白的事。 　　《危险的知识》抓住了一些现实的深刻的问题，目前数学家仍在力图给出解答。请看一下下面的信息：这是一部完整的纪录片，只是因为技术原因才分为两部分。观看的时候要看完，而且请不要在看第一部分之前看第二部分。 　　1 of 2　上帝的信使 　　这部片子从乔治·康托尔开始讲起。他是一位伟大的数学家，创立的集合论已被尊为20世纪全部数学的基础。他认为自己是上帝的信使。因为他的老师利奥波德·克罗内克痛恨并敌视他以及他的理论，来自数学权威们的巨大精神压力终于摧垮了康托尔，结果康托尔精神失常，最终被疯狂所驱使，力图证明自己的无穷数理论。事实上，他的晚年是在精神病院度过的。 　　路德维格・玻尔兹曼力争证明原子和概率的存在，而奥斯特瓦尔德和马赫的强烈批评使他深感失望，导致了他最后的自杀。 　　2 of 2　谜团 　　哥德尔是爱因斯坦的一位性格内向的密友，一位智慧巨人。哥德尔定理粉碎了逻辑最终将使我们理解整个世界的梦想，同时也引发了许多富有挑战性的问题。他证明了形式数论（即算术逻辑）系统的「不完全性定理」：即使把初等数论形式化之后，在这个形式的演绎系统中也总可以找出一个合理的命题来，在该系统中既无法证明它为真，也无法证明它为假。哥德尔最终在一家疗养院绝食而死，因为他认为那些食物有毒。 　　阿兰·图灵，恩尼格玛密电码的破译者，计算机科学 “人工智能之父”，同性恋者。图灵为证明一些永远不能被证实的事情而死，外界的说法是服毒自杀，一代天才就这样走完了人生。（献给本文所有伟大而孤独的悲剧英灵。喵喵驴驴译，错误之处烦请各位达人指正，谢谢。部分资料来源于网络。） 　　In this one-off documentary, David Malone looks at four brilliant mathematicians - Georg Cantor, Ludwig Boltzmann, Kurt Gödel and Alan Turing - whose genius has profoundly affected us, but which tragically drove them insane and eventually led to them all committing suicide. 　　The film also talks to the latest in the line of thinkers who have continued to pursue the question of whether there are things that mathematics and the human mind cannot know. They include Greg Chaitin, mathematician at the IBM TJ Watson Research Center, New York, and Roger Penrose. 　　Dangerous Knowledge tackles some of the profound questions about the true nature of reality that mathematical thinkers are still trying to answer today. see notes below:1 documentary, only split for technical reasons. broadcast in 1, watch in 1, get both parts, don't start to watch pt2 before pt1. 　　1 of 2 God's messenger 　　The film begins with Georg Cantor, the great mathematician whose work proved to be the foundation for much of the 20th-century mathematics. He believed he was God's messenger and was eventually driven insane trying to prove his theories of infinity. 　　Ludwig Boltzmann's struggle to prove the existence of atoms and probability eventually drove him to suicide. 　　2 of 2 The Enigma 　　Kurt Gödel, the introverted confidant of Einstein, proved that there would always be problems which were outside human logic. His life ended in a sanatorium where he starved himself to death. 　　Finally, Alan Turing, the great Bletchley Park code breaker, father of computer science and homosexual, died trying to prove that some things are fundamentally unprovable. 　　转自VeryCD

我看着我。星灵和她围绕三个男人。性是爱，爱说的男人。“离别的痛苦。那成熟的“单纯的隐的相遇之旅，舒适的硕民。这三个男人的重心成英。性是人的交往。受伤。她背叛自己的男人要去复仇的刀刃。