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.

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/

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

Top Gear主持人之一理查德哈蒙德离开自己熟悉的驾驶座来到美国，体验最疯狂最刺激的各种职业，在极短的时间内接受高强度的专业训练，并通过该职业的考核。在每一集，他需要在5天内掌握一个全新的，疯狂的，滑稽的，有时甚至是致命的职业。从鲨鱼出没的太平洋的饲养员到需要在陡峭地形上骑自行车的信使，甚至是一个好莱坞特技演员。

Top Gear主持人之一理查德哈蒙德离开自己熟悉的驾驶座来到美国，体验最疯狂最刺激的各种职业，在极短的时间内接受高强度的专业训练，并通过该职业的考核。在每一集，他需要在5天内掌握一个全新的，疯狂的，滑稽的，有时甚至是致命的职业。从鲨鱼出没的太平洋的饲养员到需要在陡峭地形上骑自行车的信使，甚至是一个好莱坞特技演员。

Top Gear主持人之一Richard Hammond最新纪录片作品，由BBC America播出。在本系列纪录片中Richard Hammond将来到美国，体验最疯狂最刺激的各种职业，在极短的时间内接受高强度的专业训练，并通过该职业的考核。