音乐也许没有国界，但不会没有祖籍。这是一次沿着余音观望来路的尝试。我们也许在科学语境下曾经了解过一些西洋乐器，但关于自己的传统民乐却一直很少如此剖析。本片将从具体的传统乐器和奏鸣技巧入手，通过科学解构、演绎解析等诸多全新手段和视角，从美学、哲学、科学多方面交互解读，以现代影音重新泛起那种似曾相识的共鸣。

喜，便是喜悦，各种各样的喜悦。 有开心之喜，有感动之喜，有兴奋之喜，有善良之喜，有 期盼之喜，更有收获之喜......

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

关天逸本是坐拥无上权势的至尊人皇，三年前因家族遭奸人陷害满门被斩，为守护家族机密，他孤身前往北境蛰伏。海雀作为北境四大天王之一，是关天逸最忠诚的下属与战友，始终为他坚守后方、传递关键情报。当海雀告知海城急报 —— 妻子苏卿被周家逼迫跳楼、妹妹关灵儿遭人欺辱，且周家正是当年参与灭门的仇敌时，关天逸毅然归来。他重拾人皇威势，携手海雀展开雷霆复仇，以绝对实力横扫周家及背后势力，不仅为家族洗刷冤屈、护住至亲，更在权谋纷争中重振皇图霸业，续写至尊传奇。