由国家广播电视总局策划部署、福建省广播电视局指导的大型理论实践探访节目《思想的田野》福建篇——思想号大篷车从福州始发，福建籍歌手叶一茜、福建农林大学教授刘飞翔、伦敦奥运会举重冠军林清峰、东南卫视主持人谢霜以及两位特邀“歪果仁”嘉宾组成的探访团奔赴闽东寿宁下党乡，探寻乡村发展之美；前往千年历史文化名镇永泰县嵩口镇，感受古乡镇的变化与坚守；开赴闽西大山中的武平县，探寻林改后“不砍树也能致富”的可持续发展之路。

由国家广播电视总局策划部署、福建省广播电视局指导的大型理论实践探访节目《思想的田野》福建篇——思想号大篷车从福州始发，福建籍歌手叶一茜、福建农林大学教授刘飞翔、伦敦奥运会举重冠军林清峰、东南卫视主持人谢霜以及两位特邀“歪果仁”嘉宾组成的探访团奔赴闽东寿宁下党乡，探寻乡村发展之美；前往千年历史文化名镇永泰县嵩口镇，感受古乡镇的变化与坚守；开赴闽西大山中的武平县，探寻林改后“不砍树也能致富”的可持续发展之路。

A documentary that shows how we can advance humanity by unlocking the secrets of the mind. 　　When Tianqiao and Chrissy first announced that they were focusing their philanthropic efforts on brain science, they were flooded with questions about their choice. They decided to create a short video to address these questions and quickly realized that they had enough exciting content for at least one documentary. They decided to create something that would excite the public about recent advances and show just how close we are to a number of significant breakthroughs. They also wanted to create something could be used by scientists and researcher to make the case that more support is needed from government, philanthropists, businesses and the public if we are to unlock the secrets of the human brain.

8集电视理论片《思想的旅程》深情回顾过去十年党和国家发生的巨大变化，着重围绕党的十八大以来我国的变革性实践、突破性进展、标志性成果，阐释习近平新时代中国特色社会主义思想的原创性贡献。

B.J. Novak’s The Premise is a provocative half-hour anthology of standalone stories about timeless moral questions in unprecedented times.

B.J. Novak’s The Premise is a provocative half-hour anthology of standalone stories about timeless moral questions in unprecedented times.

这本关于史无前例时代的永恒道德问题的丛书，采用了具有挑衅性的概念，并将其公开化，以幽默和真诚的方式讲述了三维的、由人物驱动的故事。

为了超越父亲的遗产，一位印裔美国神经学家陷入了自己的实验中，将自己意识的十个片段相互对立。

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。

“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)