上海机器织布局俗称“老洋布局”，是近代中国最早的官督商办机器棉纺织企业。早在光绪二年（1876），李鸿章便曾派魏纶先出面筹办织布事宜，但魏无法筹集资金，所以该计划未能实现。光绪四年九月初十日，四川候补道彭汝琮呈请北洋大臣李鸿章、南洋大臣沈葆桢奏准设立上海机器织布局。几经变动，光绪六年（1880），确定由戴恒、龚寿图、郑观应、经元善等人负责筹办，郑观应任总办，开办资金五十万两，全套机器从英、美购置，拥有纱绽三万五千枚，布机五百三十台，雇工多时约四千人。光绪十三年（1887），李鸿章复派龚寿图接办。直到光绪十六年（1890）才建成投产。营业兴旺，纺纱的利润尤高。光绪十九年（1893）夏，李鸿章决定扩充纺纱，向英国增订机器。九月初十日，织布局清花间失火，全厂付之一炬。十月，李鸿章派盛宣怀会同上海海关道聂缉椝负责恢复织布局，招募新股一百万两，在织布局旧址设厂，取名“华盛纺织总厂”。

A stunning, intimate series painting a rarely-seen picture of real life in China, interweaving stories of human drama with nature, as the country tries to balance its ambitious future with its ecology

纪录一座教堂的修复过程。这座位于神户的教堂由安藤忠雄设计，于1986年完工，是他的「教堂三部曲」之一。在这部短片中，我们能够清晰地看到修复之前与重生后的「风之教堂」。

Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

Professor Diarmaid MacCulloch explores how Christianity has shaped western attitudes to sex, gender and sexuality throughout history

A parody of past religious geared animated shows starring Orel, an optimistic God fearing young boy in a world of cynicism.

Joo-mi, a quiet church lady, hates to stand out and always wears a cross necklace around her neck. She is a purist who has never met or dated any man. A bully, Won-joon, appears in front of her. Hearing that Joo-mi is still chaste, the desire to seduce her intensifies. For Won-joon who meets women once a month, it was easy to seduce Joo-mi, but it was not easy to steal her virginity. Won-joon, who said goodbye to Joo-mi, who would never let him have sex, started dating Na-yeong. They brag about it to Joo-mi and insult her. Jooo-mi, who was insulted by Won-joon, who she loves so much, had sparks in her heart. Joo-mi decides to have sex with her church friend in revenge against Won-joon.

.陈良近来躁动不安，身体内部潜藏已久的欲望正在慢慢生长, 被家庭和学校两种空间困囿和挤压，逐渐萌动的念头悬置在空中，在男女之间，陈良迈出了他的第一步。

克里斯蒂安·贝尔将主演、制作新片《铤而走险教堂》(The Church of the Living Dangerously，暂译)，饰演著名的牧师毒枭【约翰·李·毕肖普】。 　　该片由《大空头》《爆炸新闻》编剧查尔斯·伦道夫再度与贝尔合作操刀剧本，基于大卫·库什纳在《名利场》上发表的同名文章，讲述美国最出名的牧师之一——约翰·李·毕肖普，是如何由极为成功的牧师走向了帮助墨西哥贩毒集团走私的道路。 　　贝尔这次会不会又要为角色控制体重了呢？从2003年到2012年，贝尔接拍了《机械师》《蝙蝠侠：侠影之谜》《重见天日》《蝙蝠侠：黑暗骑士》《终结者2018》《斗士》《蝙蝠侠：黑暗骑士崛起》等多部电影，然而因为这些影片中他饰演的角色不一，体重要求也不一致，于是贝尔开始了“暴减—增重—再减—再增重”等循环往复的过程，也是非常辛苦了。 　　据悉，现实中的约翰·李·毕晓普度过坎坷、跌宕起伏的童年后，成为了The Living Hope Church的牧师，该教堂在他的巅峰时期规模巨大，占据了俄勒冈州波特兰市的前凯马特超市8500平方英尺的地盘。 　　作为一个天生的表演者，他会带来异国情调的动物在诺亚方舟上布道，有次差点被一只孟加拉虎咬伤，打出名气后，他也越来越富有。 　　虽然教会以任何人都可以被宽恕的理论来迎合迷失的灵魂，但毕晓普并没有很好地处理富裕问题，当已婚传教士与教会员工发生婚外情时，他的教民也不会原谅他，因为他服用了强烈的止痛药并存在酗酒问题。毕晓普有一个糟糕的童年，他的叔叔组织他和其他孩子参加了赤手空拳的搏击俱乐部比赛，以供他们娱乐。因此，在儿子大卫染上了冰毒和海洛因后，他决心不辜负儿子，坚持与他一起服用毒品，以了解其影响，这导致毕晓普走上了为墨西哥集团走私毒品的道路。跑腿20次后，毕晓普在墨西哥边境被捕，被定罪并被判处五年监禁。