Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

中央电视台纪录频道投拍的纪录片《园林—长城之内是花园》共8集，每集约 50分钟，从先秦、汉、唐、宋、明的 园林讲起，直至现代。通过讲故事的 方式，具象表达园林里的慢生活。

中央电视台纪录频道投拍的纪录片《园林—长城之内是花园》共8集，每集约 50分钟，从先秦、汉、唐、宋、明的 园林讲起，直至现代。通过讲故事的 方式，具象表达园林里的慢生活。

假山石、古亭台、奇花和异草，营造布局，方寸得天然。这是每个苏州人的造园梦想。蔡家、王家和纪家，他们把自己毕生的财富用在建造自己的一座梦想园林上。呕心沥血，园林渐渐呈现出它的隐逸之美。但发生在园林的日常生活之中，却隐藏着不为人知的危机。