n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

Two pretty girls come of age and a painter has an unusual commission. In a repressive climate sexual exploration repression and liberation are and represented.

Two pretty girls come of age and a painter has an unusual commission. In a repressive climate sexual exploration repression and liberation are and represented.

20世纪初，动画片也开始出现。在爱迪生实验室工作的英国移民布雷克顿用粉笔素描雪茄和瓶子，拍摄了被称为“把戏电影”(trick film)的《奇幻的图画》(The Enchanted Drawing)。1906年，他又制作了《滑稽脸的幽默相》(The Humorous phases of Funny Faces)。这部影片被公认是世界上第一部动画影片。1907年，他将动画技巧运用到影片《鬼店》 (Haunted Hotel)上，轰动一时。但当时人们并没有意识到动画片的艺术价值，布雷克顿的注意力也在这之后投到了其他方面，没有在动画业上继续发展。

地处郊外的一栋房子里，胡子拉碴的尼克（Christopher Nightingale 配音）正在准备餐点。客厅里坐着他年迈的母亲艾琳（Anne Cunningham 配音）。艾琳腿脚不便，日常起居全靠儿子的照顾。她养育了两个儿子，长子理查德（Alisdair Simpson 配音）事业有成，顺风顺水，偶尔过来看看母亲，轻松得意之情溢于言表。反观尼克，没有任何工作，并且也不是母亲所疼爱的那个孩子。他压抑着心中的愤怒，仍竭尽全力照顾母亲的点点滴滴。或许因为不受期待，尼克时常和意见相左的兄长、母亲争吵。但这又能改变什么呢？ 　　有些情感注定超越了语言而存在的。而有些真情，也注定通过生死才分外的清晰……

Realização: António Reis 　　Produtora: Câmara Municipal do Porto 　　Produção: César Guerra Leal 　　Made by commission of the Porto City Council, Panels of the Porto is a visual essay on the city, gathering sequences filmed between the river and downtown, commented with the reading of poems by authors like Vasco de Lima Couto, Egito Gonçalves, Rosália de Castro, Pedro Homem de Mello, Fernando Pessoa, and António Reis himself, with music by Francisco Rebelo.

本片将一群不拘一格的艺术家、评论家和学者带到了英国郊外，来了解英国人是如何通过艺术来描绘本国的美丽风光的，探究为何英国田园画能到达到如今的崇高地位和影响力。从查尔斯五世时期的佛兰德斯人到数字时代大卫霍克尼的iPad，英国田园风景画将英国的光辉历史显露无疑。电影制作人尼克罗格，历史学家丹斯诺，小说家威尔赛尔富等名人都参与到本片的拍摄中。

第一集：达芬奇的《维特鲁威人》 　　第二集：哥白尼的地心说 　　第三集：牛顿的七色光谱(cover上的就是这个经典的图) 　　第四集：弗洛伦斯.南丁格尔的统计学饼图 　　第五集：DNA的结构 　　第六集：先驱者探测器

第一集：达芬奇的《维特鲁威人》 　　第二集：哥白尼的地心说 　　第三集：牛顿的七色光谱(cover上的就是这个经典的图) 　　第四集：弗洛伦斯.南丁格尔的统计学饼图 　　第五集：DNA的结构 　　第六集：先驱者探测器

暂无剧情简介