Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

In this deeply personal video diary, a young researcher tries to make sense of her fascination for the film “The Pain of Others” by Penny Lane. A deep dive into the discomforting world of YouTube and online conspiracies, that challenges traditional notions of what documentary cinema is, or should be.

Art, politics and motorcycles - on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped our understanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger. 　　Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing. 　　The film introduces Berger's art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger. 　　The prelude and starting point is Berger's mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing. 　　Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller.

JTBC于2017年秋季将有一档新综艺：《전체관람가》（《全体可观看》）。以介绍韩国最佳电影导演们制作短篇电影的过程。短篇电影专家歌手尹钟信、短篇导演…

《全体观众》是讲述电影导演们短篇电影制作记的真人秀节目，于2017年在JTBC首播，一时成为话题。而将制作成TVING原创系列的《全体观众+:短片》将重新诞生为最近作为主流的OTT平台中的最佳内容。《全体观众+:短片》由卢洪哲、尹钟信、文素利一起担任节目主持人。3名MC以电影制作者的世界观和概念参与其中。 计划设立以各自名字命名的「弘信所制片公司」，尹钟信本部长、文素利制作理事、卢洪哲制作室长，帮助8位导演制作8部短篇电影。

亚特是英国一位二十多岁的年轻人，正在为自己的音乐生涯而打拼，然而他觉得自己必须逃离这种令人沮丧的生活，他觉得这可以在一本叫《这不是你的错》的书里找到答案，于是他邀请该书的作者，一位加拿大人到家中居住，并指导自己的生活，而这对他的家庭来说无疑掀起了一场风暴。

关于二战的电影是波兰电影学院派经常拍摄的话题。在《如何被爱》中哈斯把只是把战争作为背景，讲述两个普通人的悲剧感情故事。女主角为了爱情的无私奉献最后反而成为了她深爱的男人的负担，在某种意义上毁掉了后者的生活。这一切都是在战争的环境下发生的，正如女主角讲的，开始以为生活就是自己身边的事，后来才发现整个国家都和你有关。而男主角最后也说道，我们都是被卷入战争的普通人。

关于二战的电影是波兰电影学院派经常拍摄的话题。在《如何被爱》中哈斯把只是把战争作为背景，讲述两个普通人的悲剧感情故事。女主角为了爱情的无私奉献最后反而成为了她深爱的男人的负担，在某种意义上毁掉了后者的生活。这一切都是在战争的环境下发生的，正如女主角讲的，开始以为生活就是自己身边的事，后来才发现整个国家都和你有关。而男主角最后也说道，我们都是被卷入战争的普通人。

Is it possible to desert in a shooter game? Along this question, "How to Disappear" reflects on war and game, discipline and disobedience. For the history of defiance is as old as the history of war - and yet the act of desertion goes beyond the game's space of action. Shot in the martial yet picturesque war landscapes of the online shooter "Battlefield V", the hyperrealistic graphics become the backdrop for an essay-like narrative. The narrator's voice creates a crack through which physical-real realities penetrate the depoliticized fun stage of the game. Using performances and interventions in the digital battlefield, "How to Disappear" explores the scopes and limits of the audiovisual entertainment machine.