Entretien entre Georges Canguilhem, Michel Foucault, Jean Hyppolite, Paul Ricœur, avec Alain Badiou et Dina Dreyfus. 　　C’est à l’occasion de l’émission Philosophie et vérité, colloque réunissant cinq philosophes autour de Dina Dreyfus, que les propositions de mise en image ont été les plus abouties. D’une durée plus importante que les autres, presque une heure, et avec un budget plus conséquent, cette émission a permis à Jean Fléchet de mêler échanges en studio et tournage en extérieur. 　　C’est la volonté de proposer une image et des échanges plus spontanés, loin d’une simple table ronde, qui a été développée. Et même si la technique n’a pu totalement se faire oublier, l’exercice a permis la mise en forme d’un débat philosophique plus vivant, plus ancré dans l’instant présent. Georges Canguilhem et Jean Hyppolite, initiant les discussions à l’arrière d’un taxi pour se rendre au rendez-vous, Michel Foucault quittant la discussion pour aller à une conférence…

Entretien entre Georges Canguilhem, Michel Foucault, Jean Hyppolite, Paul Ricœur, avec Alain Badiou et Dina Dreyfus. 　　C’est à l’occasion de l’émission Philosophie et vérité, colloque réunissant cinq philosophes autour de Dina Dreyfus, que les propositions de mise en image ont été les plus abouties. D’une durée plus importante que les autres, presque une heure, et avec un budget plus conséquent, cette émission a permis à Jean Fléchet de mêler échanges en studio et tournage en extérieur. 　　C’est la volonté de proposer une image et des échanges plus spontanés, loin d’une simple table ronde, qui a été développée. Et même si la technique n’a pu totalement se faire oublier, l’exercice a permis la mise en forme d’un débat philosophique plus vivant, plus ancré dans l’instant présent. Georges Canguilhem et Jean Hyppolite, initiant les discussions à l’arrière d’un taxi pour se rendre au rendez-vous, Michel Foucault quittant la discussion pour aller à une conférence…

Co-directed by Godard with the Dziga Vertov group in 1969, 'Pravda's a direct attack to revisionism and socialist imperialism. With his usual collage of images taken from real life, the film's structured as a letter which a man writes to a woman called Rosa.

Co-directed by Godard with the Dziga Vertov group in 1969, 'Pravda's a direct attack to revisionism and socialist imperialism. With his usual collage of images taken from real life, the film's structured as a letter which a man writes to a woman called Rosa.

This video is a profile of Latin American guerilla leader Ernesto Guevara, revered by his supporters around the globe as "El Che." Born in 1928 in Argentina, Che Guevara believed that revolution was necessary to free Latin American people from oppression. An ally of Fidel Castro, he served in the Cuban government from 1961 to 1965. He left Cuba to join the cause of revolution in Bolivia, where he was killed by the Bolivian army in 1967. El Che's story is told with archival films and photographs, as well as commentary by historians. 　　Based on the book "Che, Ernesto Guevara, une légende du siècle" by Pierre KALFON. 　　Screendplay and narration by Maurice DUGOWSON and Pierre KALFON.

大势的中心“EXO探究生活”，深入了解各成员互相之间的看法。 http://www.bilibili.com/video/av2853317/

大势的中心“EXO探究生活”，深入了解各成员互相之间的看法。 http://www.bilibili.com/video/av2853317/

沈念前世因无条件溺爱侄子，饱尝家人冷漠与伤害，最终悲惨离世。重获新生，她誓要改变命运。这一世，她决定收起无原则的溺爱，对侄子的行为放任自流，不再让自己重蹈覆辙。她要活出自我，守护自己的幸福，不再让任何人轻易伤害到自己。

Julian inherits a house in West Philadelphia from his grandmother and asks his girlfriend Gwen to move in, although she turns out to be just the first member of the commune that sets up home with him within its brightly coloured walls. Together with the founding couple, the seven-strong collective are soon reciting African-American poetry, reading post-colonial theory, holding seminars on Sudanese languages and enjoying jazz-inflected jam sessions, with the chest of materials on the wider Black experience apparently left behind by the grandmother proving perfect inspiration to this end. With the prominent poster of Godard’s La chinoise hanging in the kitchen, it’s tempting to read their funkily cerebral exploits as pure fiction, yet they’re actually a reenactment of Asili’s own experiences in a Marxist commune. Real life informs the fiction elsewhere too, as members of the MOVE Organization come to speak at the house, the camera alights on significant sites for the Black community outside in the Philadelphia streets and the inevitable petty arguments about house rules rear their head. And maybe that’s the point: theory rubs up against practice and sparks duly fly.

Julian inherits a house in West Philadelphia from his grandmother and asks his girlfriend Gwen to move in, although she turns out to be just the first member of the commune that sets up home with him within its brightly coloured walls. Together with the founding couple, the seven-strong collective are soon reciting African-American poetry, reading post-colonial theory, holding seminars on Sudanese languages and enjoying jazz-inflected jam sessions, with the chest of materials on the wider Black experience apparently left behind by the grandmother proving perfect inspiration to this end. With the prominent poster of Godard’s La chinoise hanging in the kitchen, it’s tempting to read their funkily cerebral exploits as pure fiction, yet they’re actually a reenactment of Asili’s own experiences in a Marxist commune. Real life informs the fiction elsewhere too, as members of the MOVE Organization come to speak at the house, the camera alights on significant sites for the Black community outside in the Philadelphia streets and the inevitable petty arguments about house rules rear their head. And maybe that’s the point: theory rubs up against practice and sparks duly fly.