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

20年前，奥特兄弟为了阻止由异次元人亚布鲁怨念衍生出来的终极超兽奥特杀手萨乌鲁斯，奥特兄弟用尽了所有力量和萨乌鲁斯进行了一番苦战。最后，奥特杀手萨乌鲁斯被打败，沉入了神户港的深海。亚布鲁的怨念得以被封印，但是，奥特兄弟们也丧失了变身的能力。 梦比优斯奥特曼来到地球半年后，隐约感觉到了神户的异样并独自一人去前去调查。梦比优斯奥特曼得知传说中的奥特兄弟作为人类，在神户生活着。此时，由多位外星人组成的宇宙联盟为了解开当年封印，也来到了地球。为了使沉睡在神户深海的奥特杀手萨乌鲁斯复活，宇宙联盟决定先铲除可能成为最大阻碍的梦比优斯奥特曼。光之国的佐菲向地球上的奥特兄弟们发出了奥特签名，提醒他们要小心宇宙联盟。 一场正邪之间的较量再度展开......

本作品是从美国两部电视系列剧《第九空间》（THE OUTER LIMITS） 和《阴阳魔界》（The Twilight Zone）得到灵感创作的科学幻想电视连续剧描述了万城目淳…

《奥特Q》是日本东宝电影公司特摄电影拍摄方面被称为“神”的导演“圆谷英二”设立的日本圆谷公司拍摄的“空想科学特摄电视剧系列”的第1部，由圆谷英二老先生亲自监修。《奥特Q》也是日本圆谷公司创建后拍摄的第一部作品，可以说是圆谷的处女作。而且它也是日本特摄史上第一部以怪兽作为主角的特摄连续剧，共28集，奥特Q在日本特摄史上享有很高的威望。

安德烈独自生活在一个森林地区。当他发现一个神秘的年轻人科洛特在他适当的时候睡着了，他的生活就改变了。科奥特取笑安德烈的欲望，迫使他放弃生活中已经被侵蚀的价值观。 　　安德烈是一个身无分文的人，住在一片森林里。自然的力量拥抱着他的身体，因为他淹没在他沸腾的内心世界里。在失眠和梦境之间，安德烈总是被自己的过去所困扰。他希望解构自己，抚平他的悲伤，并从他的行为中承担责任。他把自己放在深渊前，在那里他必须拥抱自己的鬼魂，改变自己的皮肤才能生存。

奥特兄弟：奥特曼、赛文、杰克、艾斯，为了阻止亚波人怨气的集合体最终超兽萨乌鲁斯攻击地球、也为了避免在宇宙空间展开激烈的战争，奥特兄弟与强大的合体兽进行了一番苦战。但隐约感觉到神户将会沉没的奥特兄弟，使用了"最终十字屏障"，封印了这股邪恶力量。可是，使用"最终十字屏障"需要使用大量的光能，这就意味着奥特曼失去了变身的能力。 　　于是，时光流逝到了现在。在地球上，诞生了一位继承了奥特兄弟意志的新英雄，他的名字就是梦比优斯奥特曼。