《岳麓实践论》每期节目，请来一位现实生活中锐意进取的实践派作为主讲嘉宾，讲述他的行动和探索，以及对这些行动和探索的思考。加上知名专家学者、以及大学生组成的“青年实践调查团”，在节目中共同探寻实践者的可执行之道。

大型历史人文纪录片《岳麓书院》以五代期间二僧办学为始，以人为线，梳理千年文脉，呈现这座千年书院给此地孕育的湖湘气质，以及为何能历史性地造就出近代湖湘楚材“于斯为盛”的文化盛况，展示岳麓书院蕴含的中华文化的史诗。

To the accompaniment of the only extant recording of James Joyce reading from his own work, Donegan uses a clear cellophane hood and a pane of glass to create another of her "face paintings." The performance is intercut with the artist painting over her own image as it appears on a video monitor, complicating the relation between her performance and the ways that technology both records and redefines the artist's work. Portions of "Finnegans Wake" from James Joyce reading (Caedmon Records, 1924), the only recording of Joyce reading his work.

余政达作品《Practicing LIVE》呈现了一场迷你舞台剧现场。在30分钟的剧本里，讲述了一个普通家庭聚会的故事，不过这个家庭的所有成员都从事艺术圈工作。在平凡且日常的对话中，演员们经历了真实角色与虚构角色的错位，重新拆解并构建了彼此之间的链接关系。

一个女人与她的椅子的故事。

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

想要守护历史的年轻史官和为了成为国王而想要抹去历史的王世孙为了彼此的信念而斗争的故事。

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

暂无剧情简介