《追悼暗语》是一部日本独立艺术电影，这是一部很有争议的电影，曾一度被沦为地下电影，这部电影描述的是京都的几个社会边缘人物的令人难以忍受的生活和遭遇，影片将很多人认为不可能拍成电影的疯狂剧本拍了出来。

《追悼暗语》是一部日本独立艺术电影，这是一部很有争议的电影，曾一度被沦为地下电影，这部电影描述的是京都的几个社会边缘人物的令人难以忍受的生活和遭遇，影片将很多人认为不可能拍成电影的疯狂剧本拍了出来。

上海郊外某处，住着一对青年夫妇，男名余自新，女名张丽英，生一女叫小新。数年前，自新在友人处见到丽英，经友人介绍，渐渐由友情而互相爱慕，愿结终身之好。但自新之父却极顽固，视男女自由恋爱为洪水猛兽，自新慑于父威，不敢把与丽英的事告诉他，于是和丽英私自在郊外结婚。过了三年，小新已有周岁，但自新之父突提出要为自新娶亲。自新与丽英商量对策，苦无良策，自新决定还是把真相告诉父亲。自新之父闻自新已私自成婚勃然大怒，命家中仆役把自新禁锢在家。自新把自己的遭遇告诉妹妹月筠。月筠知道两人结婚的事，和丽英也很合得来，于是答应替哥哥想办法。她请来一些亲戚，同劝父亲承认哥哥的婚事，终不能说动父亲。月筠为说服父亲，把孙女小新领来给他看。丽英从小新走后日夜等候自新和月筠的消息。自新之父又把自新结婚的事告诉媒人钱畏厂，钱怕丢去媒人的重谢，出主意让余父登报否认自新与丽英的婚事，余父点头称是。登出之后，丽英备受社会的指责和白眼，难以在当地存身，于是出走他乡，更名周素君，到一学校中任教。她把爱女的玩具带在身边，因想女心切，精神恍惚，常做错事。自新不得丽英消息，心急如焚，偷跑离家，在郊外寻丽英不着，寻迹到丽英任教的学校，又因丽英改名，不得消息，于是怅然坐火车返回上海。丽英得讯，急忙去找自新，到火车站，车已开动。丽英深夜返校，路遇流氓，被青年黄丙禹所救。两人从此相识。日久，黄向丽英求婚，丽英不得已把真相告诉黄丙禹。自新返上海后，不愿回家，在一商业机构任职，独身生活，思念丽英。小新渐渐长大，但思念母亲，小儿举动，令人伤心不已，其姑月筠也非常焦虑。余父开设的工厂有数千工人，因工资太低，工人们无力养家，向余父提出增加工资的要求，遭余父断然拒绝。工人于是商定罢工。数千工人蜂拥至厂，厂中秩序大乱，警察弹压不住。正危急时，宪兵到来，平息了事端。军官指同来的妇人是报警的人。月筠认出是嫂子丽英。余父知道这就是自己多次否认的儿媳。原来丽英在黄丙禹求婚后，不便在那里呆下去，决定返回上海，正赶上工人暴动，就去报告了宪兵队。丽英见过余父，询问自新。余父告诉丽英，自新已于两年前离家出走。正说间，自新也因工人暴动事回来看望父亲，一家人终于团圆。第二天，黄丙禹也追踪丽英前来，丽英为家人作了介绍。从此，余父大彻大悟，宽以待人，不仅增加工人工资，还在工人庆祝五一节的聚会上发表演说，受到工人欢迎。丽英和小新也把果品分送工人家属。

六月突降零下 60摄氏度 暴雪，极寒末日封城，食物断绝。我重生在灾难前三天，带着上一世的血海深仇 —— 自私的表姐借父母仁慈住进我家，逼发烧的父亲冒雪寻食冻毙，后又为抢食物找人打死我与母亲。这一世，她再装可怜想来避险，我定要让她血债血偿，绝不重蹈覆辙。

《声入人心》是湖南卫视重磅打造的全新音乐类节目，邀请廖昌永、尚雯婕、刘宪华三位音乐人作为出品人，36位演唱成员在“首席”和“替补”两个角色间轮换，节目由舞台公演和真人秀两部分组成，观众既可欣赏到顶尖水准的美声歌剧表演，也可以看到出品人和演唱成员之间的激情碰撞，见证演唱成员们的成长蜕变。

《声入人心》是湖南卫视重磅打造的全新音乐类节目，邀请廖昌永、尚雯婕、刘宪华三位音乐人作为出品人，36位演唱成员在“首席”和“替补”两个角色间轮换，节目由舞台公演和真人秀两部分组成，观众既可欣赏到顶尖水准的美声歌剧表演，也可以看到出品人和演唱成员之间的激情碰撞，见证演唱成员们的成长蜕变。

《声入人心 首席领唱版》是《声入人心》的会员衍生节目，盘点了《声入人心》第一季最终首席郑云龙、阿云嘎、蔡程昱、王凯在节目中的精彩演唱，领唱《声入人心》第二季，想念首席们的惊艳之声吗？首席追光特别篇邀你一起重温！

《声入人心》是湖南卫视重磅打造的全新音乐类节目。节目以古典音乐为立足点，演唱成员通过不同形态的重唱演绎方式来诠释高雅音乐和艺术，为观众带来前所未有的音乐体验。这是一次美声、音乐剧、歌剧、流行音乐、民族音乐的流行与创新，将颠覆大众心中对传统美声的刻板印象，将高雅艺术大众化。

The medieval church cannot be understood without recognising that death was at its heart. Richard Taylor shows how churches were design ed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. 　　He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted in the decoration of windows, floors and walls at such remarkable sites as Malvern Priory in Worcestershire. 　　Taylor explains the medieval obsession with purgatory and how this again transformed our churches with the building of elaborate chantry chapels, where Masses could be said to ease the journey of departed souls into heaven. 　　Information 　　Author Richard Taylor examines how the imagery, symbols and architecture of English parish churches have inspired, moved and enraged people down the centuries. 　　Part 1: Dark Beginnings 　　Presenter Richard Taylor explains how churches were originally simple buildings intended to protect the altar and the most important Christian rite of all, the Eucharist. He visits Britain's finest early medieval churches to untangle the mystery of why the Anglo-Saxons and Normans seem to have been unwilling to shake off their pre-Christian past and to have continued to fill their sacred buildings with mysterious pagan images. An ancient book in an Oxford library helps Richard find an answer. 　　Part 2: Medieval Life 　　Richard Taylor uncovers evidence that shows how and why our parish churches came to play such a crucial role in the everyday life of the Middle Ages. He looks at how humorous wall paintings and intricate carvings were used to teach moral lessons and how carved angels in such churches as Blythburgh were used to create a heaven on earth. He finds out how rites such as baptism and the largely forgotten ritual known as the 'churching of women' offered people protection from the cradle to the grave. 　　Part 3: Medieval Death 　　Richard Taylor shows how churches were designed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted on the windows, floors and walls of sites like Malvern Priory. Taylor explains how the medieval obsession with purgatory transformed churches with the building of chantry chapels. 　　Part 4: Reformation - Chaos and Creation 　　With the help of art historian Sister Wendy Beckett and a stained-glass window, Richard Taylor tries to understand the intense medieval devotion to the Virgin Mary and how this fuelled the anger of the Reformation that followed. Richard 'reads' a ruined church and explains how it was not Henry VIII but his boy-king successor, Edward VI, who was responsible for the greatest changes in the Reformation. He also traces how the Book of Common Prayer and the translation of the Bible into English transformed the way that the English worshipped and the appearance of their churches. 　　Part 5: Restoration and Reason 　　Church life in the 18th century is often thought to have been genteel and dull, but Richard Taylor finds that churches in this Age of Enlightenment reflect the intellectual excitement, the vigour and the potential for conflict of a turbulent time. He shows how the symbols in the everyday parish church reveal the ever-closer identification between church and state and he tries out the triple-decker pulpit at St Mary's in Whitby, and he discovers how the London churches of Christopher Wren and Nicholas Hawksmoor reflect the latest scientific insights and archaeological discoveries of the age. 　　Part 6: The Victorians and after 　　Richard Taylor discovers how, during the industrial revolution, medieval imagery and ritual make a surprise return to Victorian places of worship and plunge the Anglican Church into conflict. Richard retraces the controversy surrounding this Oxford Movement of Anglo-Catholics and explores their finest churches. He sees how the impact of war in the 20th century is reflected on imagery in our churches and how the First World War brought a return to another medieval practice - the commemoration of the dead.

The medieval church cannot be understood without recognising that death was at its heart. Richard Taylor shows how churches were design ed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. 　　He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted in the decoration of windows, floors and walls at such remarkable sites as Malvern Priory in Worcestershire. 　　Taylor explains the medieval obsession with purgatory and how this again transformed our churches with the building of elaborate chantry chapels, where Masses could be said to ease the journey of departed souls into heaven. 　　Information 　　Author Richard Taylor examines how the imagery, symbols and architecture of English parish churches have inspired, moved and enraged people down the centuries. 　　Part 1: Dark Beginnings 　　Presenter Richard Taylor explains how churches were originally simple buildings intended to protect the altar and the most important Christian rite of all, the Eucharist. He visits Britain's finest early medieval churches to untangle the mystery of why the Anglo-Saxons and Normans seem to have been unwilling to shake off their pre-Christian past and to have continued to fill their sacred buildings with mysterious pagan images. An ancient book in an Oxford library helps Richard find an answer. 　　Part 2: Medieval Life 　　Richard Taylor uncovers evidence that shows how and why our parish churches came to play such a crucial role in the everyday life of the Middle Ages. He looks at how humorous wall paintings and intricate carvings were used to teach moral lessons and how carved angels in such churches as Blythburgh were used to create a heaven on earth. He finds out how rites such as baptism and the largely forgotten ritual known as the 'churching of women' offered people protection from the cradle to the grave. 　　Part 3: Medieval Death 　　Richard Taylor shows how churches were designed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted on the windows, floors and walls of sites like Malvern Priory. Taylor explains how the medieval obsession with purgatory transformed churches with the building of chantry chapels. 　　Part 4: Reformation - Chaos and Creation 　　With the help of art historian Sister Wendy Beckett and a stained-glass window, Richard Taylor tries to understand the intense medieval devotion to the Virgin Mary and how this fuelled the anger of the Reformation that followed. Richard 'reads' a ruined church and explains how it was not Henry VIII but his boy-king successor, Edward VI, who was responsible for the greatest changes in the Reformation. He also traces how the Book of Common Prayer and the translation of the Bible into English transformed the way that the English worshipped and the appearance of their churches. 　　Part 5: Restoration and Reason 　　Church life in the 18th century is often thought to have been genteel and dull, but Richard Taylor finds that churches in this Age of Enlightenment reflect the intellectual excitement, the vigour and the potential for conflict of a turbulent time. He shows how the symbols in the everyday parish church reveal the ever-closer identification between church and state and he tries out the triple-decker pulpit at St Mary's in Whitby, and he discovers how the London churches of Christopher Wren and Nicholas Hawksmoor reflect the latest scientific insights and archaeological discoveries of the age. 　　Part 6: The Victorians and after 　　Richard Taylor discovers how, during the industrial revolution, medieval imagery and ritual make a surprise return to Victorian places of worship and plunge the Anglican Church into conflict. Richard retraces the controversy surrounding this Oxford Movement of Anglo-Catholics and explores their finest churches. He sees how the impact of war in the 20th century is reflected on imagery in our churches and how the First World War brought a return to another medieval practice - the commemoration of the dead.