根据澳大利亚早期著名诗人C.J. Dennis的《Songs of a Sentimental Bloke》改编，是澳国百年影史的最佳默片。网上有片段可在线观看：http://dl.filmaust.com.au/module/1187/ 　　THE SENTIMENTAL BLOKE is regarded by many as the greatest silent film that Australia has produced. 　　The Sentimental Bloke (1919) is an Australian silent film based on the 1915 Australian poem The Songs of a Sentimental Bloke by C.J. Dennis. 　　The film from the Southern Cross Feature Film Company of Adelaide, was made by Raymond Longford and Lottie Lyell, at the time best known partnership in Australian cinema, starring Lyell and a vaudeville comedian, Arthur Tauchert, and filmed mainly in the inner city Sydney suburb of Woolloomooloo. 　　Tauchert plays the 'sentimental bloke', a Sydney larrikin, who vows to abandon his life of gambling (playing Two-up) and drinking when he falls in love with Doreen (Lyell), who works in a pickle factory. 　　Lyell is thought to have co-authored the screenplay, written the titles, edited the film and helped with the direction. 　　The Sentimental Bloke uses intertitles taken from the original poem written in Australian slang and was a hit when it opened in Melbourne Town Hall on October 4 1919, breaking all existing box office records. It was also popular in Britain and New Zealand, but did not succeed in the U.S., where test audiences failed to understand the language. Despite being recut with Americanised intertitles, having some scenes cut out, and renamed for the American market as The Story of a Tough Guy, it was withdrawn from distribution. 　　The film was rediscovered in the 1950s and a new print screened at the Sydney Film Festival in 1955, and Longford was found to be working as a night watchman on the Sydney wharfs, (Lyell had died in 1925 of tuberculosis). 　　Since then the original negative sent to the U.S. was discovered (labelled as The Sentimental Blonde) at the Film Archive at George Eastman House International Museum of Photography and Film in Rochester, New York, found to be a different version and of a better quality print than any of the Australian copies. The new version premiered at the 2004 Sydney Film Festival and has played at the 2005 London Film Festival.

根据澳大利亚早期著名诗人C.J. Dennis的《Songs of a Sentimental Bloke》改编，是澳国百年影史的最佳默片。网上有片段可在线观看：http://dl.filmaust.com.au/module/1187/ 　　THE SENTIMENTAL BLOKE is regarded by many as the greatest silent film that Australia has produced. 　　The Sentimental Bloke (1919) is an Australian silent film based on the 1915 Australian poem The Songs of a Sentimental Bloke by C.J. Dennis. 　　The film from the Southern Cross Feature Film Company of Adelaide, was made by Raymond Longford and Lottie Lyell, at the time best known partnership in Australian cinema, starring Lyell and a vaudeville comedian, Arthur Tauchert, and filmed mainly in the inner city Sydney suburb of Woolloomooloo. 　　Tauchert plays the 'sentimental bloke', a Sydney larrikin, who vows to abandon his life of gambling (playing Two-up) and drinking when he falls in love with Doreen (Lyell), who works in a pickle factory. 　　Lyell is thought to have co-authored the screenplay, written the titles, edited the film and helped with the direction. 　　The Sentimental Bloke uses intertitles taken from the original poem written in Australian slang and was a hit when it opened in Melbourne Town Hall on October 4 1919, breaking all existing box office records. It was also popular in Britain and New Zealand, but did not succeed in the U.S., where test audiences failed to understand the language. Despite being recut with Americanised intertitles, having some scenes cut out, and renamed for the American market as The Story of a Tough Guy, it was withdrawn from distribution. 　　The film was rediscovered in the 1950s and a new print screened at the Sydney Film Festival in 1955, and Longford was found to be working as a night watchman on the Sydney wharfs, (Lyell had died in 1925 of tuberculosis). 　　Since then the original negative sent to the U.S. was discovered (labelled as The Sentimental Blonde) at the Film Archive at George Eastman House International Museum of Photography and Film in Rochester, New York, found to be a different version and of a better quality print than any of the Australian copies. The new version premiered at the 2004 Sydney Film Festival and has played at the 2005 London Film Festival.

身无分文的歌手山姆发现自己染上爱滋病后，终日借酒消愁，但很快就疯狂地恋爱了。在前东德的破旧环境里，他要为千禧年、为染上爱滋病的年轻患者建立一个“家庭”。他这个组建的“家庭”包括前任男友Rainer，他的密友Bastl和他的性伙伴Mike。这些形形色色的“同志”带出一个充满怀旧东欧色彩，甜蜜而催人泪下的悲剧故事。

身无分文的歌手山姆发现自己染上爱滋病后，终日借酒消愁，但很快就疯狂地恋爱了。在前东德的破旧环境里，他要为千禧年、为染上爱滋病的年轻患者建立一个“家庭”。他这个组建的“家庭”包括前任男友Rainer，他的密友Bastl和他的性伙伴Mike。这些形形色色的“同志”带出一个充满怀旧东欧色彩，甜蜜而催人泪下的悲剧故事。

露西娅和埃伦娜从孩提时期就是一对好朋友。她们驾车从巴黎到乡下。她们的谈话内容公开地亲密，但更引人入胜的是她们对彼此性格以及情欲的一致的理解……

露西娅和埃伦娜从孩提时期就是一对好朋友。她们驾车从巴黎到乡下。她们的谈话内容公开地亲密，但更引人入胜的是她们对彼此性格以及情欲的一致的理解……

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

电视系列剧以10个独立的小故事讲述着人情世故，情感故事等，是一部普法栏目剧。胡琳初恋男友杜峰在他们热恋时不辞而别，选择了出国，两人各自结婚，之后杜峰回来找胡琳，并错手杀了胡琳的丈夫，胡琳为了杜峰的前途自己认了罪。现在杜峰又继续纠缠，并不择手段，阻止胡琳和现男友秦越在一起，杜峰妻子了解情况后，公然让胡琳在公司出丑，甚至陷害秦越。

胡琳初恋男友杜峰在他们热恋时不辞而别，选择了出国，两人各自结婚，之后杜峰回来找胡琳，并错手杀了胡琳的丈夫，胡琳为了杜峰的前途自己认了罪。现在杜峰又继续纠缠，并不择手段，阻止胡琳和现男友秦越在一起，杜峰妻子了解情况后，公然让胡琳在公司出丑，甚至陷害秦越。