漫画家蔡志忠、英业达集团副董事长温世仁与创意人鱼夫携手合作，昨天公布其跨产业行动，首度将蔡志忠“庄子”等漫画作品制成动画、电子书等文化与科技结合的商品，并将进军国际文化创意市场。 　　“庄子”动画台湾地区无线电视播映权已由公视取得，公视将选择其中三十则，预定明年二月开始在频道中播映，祖国大陆地区则随后在上海与苏州的电视台播出。DVD预定十二月上市，已翻译成中文简体、日文、英文等，目标将推广到大华人地区与进军国际。同时，也将出版VCD与智库电子书等科技影音产品。 　　莊子道家學術．孕育三千年的中國心靈雞湯，助您洗滌心靈 　　《山木》　詳細闡述全免患之道。 　　《田子方》針對世俗之人熱衷學道而又不得要領，以至於誤入歧途的現狀。 　　《知北遊》揭示了“道”本身的絕對虛無、玄空神秘的特質，指出“道”生於無而處於虛。 　　《庚桑楚》闡述了有關“養心”的問題，指出必須解除擾亂束縳人心的一切世俗情感，以保持或復歸純樸自然的本性。 　　《徐無鬼》集中於談去惑以悟道的問題。 　　《則陽》　圍繞“道”的本質問題而展開。 　　《外物》　說明只有不求外物的人，才能夠自由地暢遊於世。 　　《寓言》　詳細解釋以明《莊子》一書之體例，故前人多以此為全書的序例。 　　《讓王》　本篇體現安貧樂道的思想，與忘我的精神修養境界，但本篇是否出自莊子之筆實難定奪。 　　《盜拓》　揭露了名利富貴對人的自然本性的戕害及儒家忠孝仁義的虛偽性。 　　《說劍》　勸說統治者放棄遊樂，而要心繫天下國家。 　　《漁父》　藉漁父之口來批評孔子重人倫禮樂的行為，宣傳了“法天貴真”的思想。 　　《列禦寇》指出達生知命，方是全生之道。

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

1913年，几乎与《难夫难妻》拍摄的同时，一个叫黎民伟的广东人在香港组建了一家名叫“华美”的电影公司，不久该公司就与亚细亚公司合作拍摄了《庄子试妻》，这也是影史上第一部由香港出品的故事短片。严珊珊扮演的虽不是重要角色，却是中国银幕上的第一位女演员。 　　该片的故事讲述庄周死了，他妻子耐不得寂寞，在丈夫尸骨未寒之时便有了新欢。为了使新人高兴，庄周妻带着新情人到庄周的坟墓上骚扰。不料庄周并没有死，他是为了考验妻子是否忠贞而诈死。新情人正是庄周假扮。作为嘲笑夫妻之间虚情假意缺少真诚的讽刺喜剧，主题也颇为积极。影片拍成后，据说“观者万人空巷”。后来布拉斯基还把这部片子带回美国放映。中国影片出国，大概也是从这部影片开始的。

1913年，几乎与《难夫难妻》拍摄的同时，一个叫黎民伟的广东人在香港组建了一家名叫“华美”的电影公司，不久该公司就与亚细亚公司合作拍摄了《庄子试妻》，这也是影史上第一部由香港出品的故事短片。严珊珊扮演的虽不是重要角色，却是中国银幕上的第一位女演员。 　　该片的故事讲述庄周死了，他妻子耐不得寂寞，在丈夫尸骨未寒之时便有了新欢。为了使新人高兴，庄周妻带着新情人到庄周的坟墓上骚扰。不料庄周并没有死，他是为了考验妻子是否忠贞而诈死。新情人正是庄周假扮。作为嘲笑夫妻之间虚情假意缺少真诚的讽刺喜剧，主题也颇为积极。影片拍成后，据说“观者万人空巷”。后来布拉斯基还把这部片子带回美国放映。中国影片出国，大概也是从这部影片开始的。

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。