中国影片制造股份有限公司1919年由卢寿联在张季直、朱庆澜、程龄荪等社会名流的支持下创立于南通，设办事处于上海仁记路百代公司内，卢寿联自任经理兼导演。初期拍摄的纪录片、风景片，有《张季直先生的风采》、《南京风景》、《南京的警政》等，戏曲片《四杰村》以及故事短片《饭桶》。1912年，洪深曾应聘担任公司的编剧顾问，并在《申报》上公开刊登“征求影戏剧本”启事：“本公司以普及教育表示国风为宗旨”，凡“诲淫”、“诲盗”、“暴国风之短”、“表情迂腐”的剧本均不录用。但“启事”所阐明的主张，在实践中并未得到真正的贯彻，在完成纪录上海各界5万人于1923年3月25日为反对日本拒绝废除与袁世凯政府签订的21条密约所举行的示威游行的新闻片《国民外交的游行大会》后，因资金告罄而歇业。

国民大会（Belle Show）是TVBS频道播出的谈话节目。于2007年12月10日开播至今，曾在2012年2月2日停播。2016年6月6日于TVBS重新复播播出至今，并由名主持人于美人回锅主持。

Two children go behind the scenes of a small circus.

"Taratata is a tribute to the parades that used to be held on Saint-Jean-Baptiste Day, Quebec's national holiday. These parades were an occasion to honour traditional values or demonstrate progress by way of allegorical floats. Presented each year on June 24 in cities and towns all over Quebec, they gave local musicians and brass bands a chance to display their talents. Children adored the pageant with its splendid uniforms. The day would end with a great fireworks display. I wanted to evoke this popular celebration once again, emphasizing what was charming, ridiculous or pretentious." F.B.

华鹏是妈祖的信徒、男同志、也是爱滋病带原者，在多场的台湾妈祖绕境场合，他总是一个人默默地在街头举办“爱滋抱抱”…

Sourced from content from the Great North Run film archive, concentrating on the audience rather than the runner. Frame layers are arranged across the screen in the direction of the natural panning of the original shots, revealing a unique panoramic view of the content.

A parade for three managers and four performers, mixing quotes taken from French composer Erik Satie's essays on the music he composed for the 1916 ballet "Parade". The famous realist ballet is brought back to life.

本作以死后、聚集了人类的灵魂的不可思议的酒吧“奎因德基姆”为舞台，每同时死亡的两名死者都会根据记忆进行筛选，再作为客人送至不同的酒吧（灵魂裁定处）。而在其中 15F 的”奎因德基姆“酒吧，迎接他们的是拥有一头白发的酒保德基姆和在此处作为助手的黑发女。因为死亡的冲击会导致客人暂时性遗忘自己已死的事实，而德基姆要做的则是：诱导客人们在不知情的情况下参加游戏，使用技巧使客人们的本性暴露出来，并对其进行裁定，是“天堂（即因为有心愿未了等情况送至转生）”或者“地狱（由于人性丑陋而导致虚无，沉于黑暗）”。红脸为地狱,白脸为天堂。游戏的最后，德基姆会说出自己是“裁定者”，在客人裁定结束后也引发了对人性以及生命的思考……随着故事的展开，德基姆以及其他裁定者的身份也渐渐明朗，而一直作为助手存在的黑发女究竟与酒吧有何关系，在背后接近他们的计划又会如何展开……

Muratti was a German brand of cigarettes. Fischinger transforms bunches of standing cigarettes into things that resemble human beings. At first they walk daintily around packages of Muratti tins. Gradually as the film progresses their motions become more graceful, as they do "slides" and other motions and formations associated with dance. The apotheosis of the film is remarkable: Dozens and dozens of cigarettes, arranged in Busby Berkeley-like fashion, repeatedly bow to the horizon, where a giant sun labeled "Muratti" rises in response to to their worshiping activity.