每一天的每一刻，我们都生活在一个由科学构建的世界里。但是，我们如何来到这里的？这个问题不仅仅是一个有着重大发现，天才思想或某个人跳出浴缸，大叫“我找到了！”的故事所能解答的。《科学的历史》为我们展示了历史上的政治动荡是如何与改变我们的生活。该剧每一集都从一个每个人都会问到的简单问题开始，然后对过去进行研究，发现人们的故事，并重新塑造出人们通过试验来发现答案的情景，并由此改变了这个世界。这部系列片将让我们了解从前科学家如何发现我们的构成，我们来自何处，以及地球出现之前的情景。

Secvente(Sequences, reffering to film sequences) is Alexandru Tatos' quintessential film and one of the stepping stones of Romanian cinematography. Sadly, although being a critics and directors favorite ever since it's release, Secvente never managed to find a wide audience, mostly due to the limited distribution the film received during it's initial run in the communist years. This huge injustice was disappointingly never corrected and unless word doesn't spread over this uniquely original gem of Romanian Cinema, Secvente will most surely never reach the following it deserves. 　　Secvente is structured in 3 merely related parts, all concerning sequences of a fictional film that is being shot by Alexandru Tatos, Florin Mihaileanu and the rest of the crew, the film, surprising moments of the crews life both on and off set, in the vein of other fourth wall breaking features of world cinema such as Truffaut's La nuit Americaine and the films of Jørgen Leth. In fact it's impossible to tell whether a fourth wall exists during the entire movie, as the haunting sensation that the characters may jump off and start a fight in your living room dominates the final climactic sequence, a sequence that may well contain the only piece of pure Romanian humor the Cinema was ever able to preserve during those years.

The only thing Frank has going for him is his job as a Mall Cop. One late night his world is shattered when a prowler breaks in, robs the joint and as Frank tries to be the hero – he loses his arm! Replaced by a sexy punk rocker Donna, Frank decides to solve the crime, win the girl and get his old job back! With the help of his nerdy best friend Chris, the ultra-strange White Wedding follow Frank’s adventure in this hilarious tale about love, limbs and Billy Idol!

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

这部电影是法国艺术家和作家阿兰·弗莱舍拍摄的纪录片。通过让-吕克·戈达尔与其他影人、历史学家和理论家的一系列访谈，描述出他的形象。戈达尔展现了他对历史、政治、电影、图像和时间以及艺术实验的想法。在这部对话影片中，他从各个方面表达了自己的观点，比如"时间"和“影像"的关系等等。

This course encompasses the study of eating as it affects the health and well-being of every human. Topics include taste preferences, food aversions, the regulation of hunger and satiety, food as comfort and friendship, eating as social ritual, and social norms of blame for food problems. The politics of food discusses issues such as sustainable agriculture, organic farming, genetically modified foods, nutrition policy, and the influence of food and agriculture industries. Also examined are problems such as malnutrition, eating disorders, and the global obesity epidemic; the impact of food advertising aimed at children; poverty and food; and how each individual’s eating is affected by the modern environment.

４月６日(月)からシーズン２に突入！ 　　プロフェッサー・クローバーとの戦いの行方は！？ 　　さらにパワーアップした怪盗ジョーカーを見逃すな！！

《天体战士》，日本漫画，洼田诚所作， 整个系列叙述怪人组织的地区指挥官--班普将军，率领着超有礼貌邪恶组织，为了消灭敌人天体战士桑雷德，不断派遣旗下的怪人军团接二连三地向天体战士挑战的故事。TV版动画于2008年10月起开始播出，该动画由JVC Entertainment Company担任制作。

《天体战士》，日本漫画，洼田诚所作， 整个系列叙述怪人组织的地区指挥官--班普将军，率领着超有礼貌邪恶组织，为了消灭敌人天体战士桑雷德，不断派遣旗下的怪人军团接二连三地向天体战士挑战的故事。TV版动画于2008年10月起开始播出，该动画由JVC Entertainment Company担任制作。