启功（马恩然 饰）是中国当代著名的教育家、古典文献学家、书画家、文物鉴定家、红学家、诗人，国学大师，是满族，是清朝皇族后裔……然而真正知道启功的…

With harpsichord music in the background, a dandy, seated at a table, plucks a quill pen from a ceiling full of them above him, dips it in ink, thinks, then draws a straight line down the page in front of him, out of which sprout six more quill pens, each held by a hand. The calligrapher moves all the hands and pens in unison, drawing an elaborate feathered wing, which comes to live, peeling off the page, and, now a quill pen, slips in to his hand. He tucks it behind his left ear.

在敦煌的艺术宝库中，有一支光芒四射、瑰丽多姿的奇葩，那就是以敦煌汉简、张芝、索靖书法、敦煌藏经洞写经为主要内容的敦煌书法。其数量之巨大、书体之多姿、功力之深厚，令人叹为观止。2009年，甘肃酒泉电视台、酒泉市书法家协会与中央电视台《探索·发现》栏目联合创作大型电视纪录片《敦煌书法》。本片将上下五千年中国书法史贯穿其中，是国内首次全面系统地整理敦煌书法形成、发展、衍变历史的电视纪录片，具有很高的文化含量和艺术价值。

中國書法在世界上是獨一無二的， 　　在黑與白、點與線的千變萬化中， 　　完成人的精神創造和情感渲洩， 　　它所表現的精神內涵是與中華傳統文化一脈相承的。 　　《千年書法》從晉到清橫跨1500年的時間中， 　　每個朝代引領書風的書法大家的介紹， 　　揭示了書法這一獨特的藝術形式和文化瑰寶在歷史長河中的發展歷程。 　　《千年書法》對我們耳熟能詳的 　　如王羲之、顏真卿、蘇軾、趙孟頫、董其昌、劉墉等書法大師的介紹， 　　使我們看到了個性鮮明的人物形象和不同的人生道路。 　　同時，除了介紹他們在書法藝術方面的精湛造詣外， 　　把更多的關注投向了人物的生活道路和心理歷程， 　　對他們所處的時代背景和生活環境進行了探索和挖掘。 　　那些名垂千苦並被神化的書法大家重新回到為有血有肉的活生生的人。 　　1.翰墨精神 　　2.至尊書聖－王羲之 　　3.熱血書家－顏真卿 　　4.尚意領袖－蘇軾 　　5.悲情書家－趙孟頫 　　6.淡筆尚書－董其昌 　　7.濃墨宰相－劉墉 　　8.紫氣東來－帝王對書法的喜愛

《中国书法大会》是由中央广播电视总台与中国书法家协会推出的大型书法文化类季播电视节目，节目深入挖掘书法文化，全景展现源远流长的汉字发展史、博大精深的中国书法史，通过先进视觉呈现为古老碑帖注入新的生命，鲜活表达中国文化蕴含的思想和精神力量，充分彰显中华民族的文化自信 。 　　该节目于2023年6月2日起每周五晚20:00在总台央视综合频道（CCTV-1）首播，次日科教频道（CCTV-10）20:00档重播，央视频、央视网等新媒体平台同步上线

《百年巨匠》总撰稿、美术史论家刘传铭表示，汉字乃中华文明之根脉所系，以汉字书写为唯一基因的书法艺术在上世纪东西方文化碰撞的岁月里，首当其冲经历了被抛弃、被颠覆的灾难。然而，书法艺术总是能一次次自我救赎，一次次浴火重生。这不仅彰显了中华文明的不朽生命力，同时也是书法艺术迷人魅力和中国知识分子家国情怀的生动证明。于右任、沙孟海、林散之、赵朴初、沈尹默、启功就是其中的杰出代表。 　　据悉，《百年巨匠》书法篇将聚焦这6位书法大家的艺术人生，预计2015年年底完成拍摄制作。

《百年巨匠》总撰稿、美术史论家刘传铭表示，汉字乃中华文明之根脉所系，以汉字书写为唯一基因的书法艺术在上世纪东西方文化碰撞的岁月里，首当其冲经历了被抛弃、被颠覆的灾难。然而，书法艺术总是能一次次自我救赎，一次次浴火重生。这不仅彰显了中华文明的不朽生命力，同时也是书法艺术迷人魅力和中国知识分子家国情怀的生动证明。于右任、沙孟海、林散之、赵朴初、沈尹默、启功就是其中的杰出代表。 　　据悉，《百年巨匠》书法篇将聚焦这6位书法大家的艺术人生，预计2015年年底完成拍摄制作。

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)