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

根据南派三叔原著小说改编的爱奇艺自制剧集《终极笔记》讲述了自云顶天宫事件之后，吴邪刚刚从三叔处得知西沙海底的隐情，以及战国帛书与老九门的恩怨，…

本故事讲述主人公江烁，意外接手凶宅买卖的生意，与伙伴秦一恒一起通过自己的勇敢和聪明才智，以及破除封建迷信的决心，帮助房主破除房子谣言，解决危机的故事。

根据南派三叔原著小说改编的爱奇艺自制剧集《终极笔记》讲述了自云顶天宫事件之后，吴邪刚刚从三叔处得知西沙海底的隐情，以及战国帛书与老九门的恩怨，随即收到了两盘来自张起灵的录像带。为了进一步揭开事情的真相，他追寻着录像带中支离破碎的线索来到青海，却陷入了更深的谜团，自此一路历险不断。

著名演员肖客，在拍摄现场吊威亚时不幸坠落身亡。隆城刑警队队长付瑶瑶立即带队勘查现场，他们调查到一位特殊的目击证人——江左岸，他是即将上任的刑警队副队长，也是死者肖客的学弟。据他所说，肖客因为最近时常收到恐吓信，所以向他求助，而江左岸离开后，碰到过一个诡异的黑影，这个黑影像是故意将他引回案发现场，目睹了整个事发经过。 警方的侦查顾问钟申镐在威亚上查出了有铝热剂的残留物，这是种刚研发出的新型化学溶液，还未面世。正当警方准备展开调查时，又出事了——亚盛医疗总裁沈少春惨死在洲际酒店，也是因为误食了一种化学溶液，他与肖客同是隆城富豪俱乐部“乐道”会所的成员，而江左岸又发现了个共同点，他在两

著名演员肖客，在拍摄现场吊威亚时不幸坠落身亡。隆城刑警队队长付瑶瑶立即带队勘查现场，他们调查到一位特殊的目击证人——江左岸，他是即将上任的刑警队副队长，也是死者肖客的学弟。据他所说，肖客因为最近时常收到恐吓信，所以向他求助，而江左岸离开后，碰到过一个诡异的黑影，这个黑影像是故意将他引回案发现场，目睹了整个事发经过。 警方的侦查顾问钟申镐在威亚上查出了有铝热剂的残留物，这是种刚研发出的新型化学溶液，还未面世。正当警方准备展开调查时，又出事了——亚盛医疗总裁沈少春惨死在洲际酒店，也是因为误食了一种化学溶液，他与肖客同是隆城富豪俱乐部“乐道”会所的成员，而江左岸又发现了个共同点，他在两