央视网—— 　　首播频道：CCTV-10科教 　　首播时间：2015-4-8 　　栏目介绍：苻坚是南北朝时期前秦的一位君主。他一生大部分时间里都空前成功，文治武功，彪炳一时。就在他势力鼎盛之际，却在淝水之战中遭遇人生最大败绩，从云端跌落谷底。草木皆兵、投鞭断流、风声鹤唳三条成语都和他密切相关。他的成功与失败，给我们带来了怎样的经验与教训？

央视网—— 　　首播频道：CCTV-10科教 　　首播时间：2015-4-8 　　栏目介绍：苻坚是南北朝时期前秦的一位君主。他一生大部分时间里都空前成功，文治武功，彪炳一时。就在他势力鼎盛之际，却在淝水之战中遭遇人生最大败绩，从云端跌落谷底。草木皆兵、投鞭断流、风声鹤唳三条成语都和他密切相关。他的成功与失败，给我们带来了怎样的经验与教训？

In Between two wars, Harun Farocki attempts to interlock the logic of war with the logic of production as determining dynamics of the years 1918-1933, the period between the two "world wars". By way of didactical acting, voice-over reflections and by applying a associating and analytical montage the film develops its thesis, that in the early 1920's the "necessities" of capitalistic production have become more and more ignorant of the actual needs of the people. Rationalization and the forming of trusts finally lead to a point where the capitalist production machine directly transformed into a warfare and destruction machine. 　　Farocki's film is relevant for the discussion of "The Lost Moment", both in terms of its narrative and in formal and aesthetic terms. Farocki tries to reconstruct the enabling conditions of a historical period, which was to manifest itself as an ultimate catastrophe and which was often not understood or straightforwardly mystified. While the political and economical decision makers are trying to perfect their use of the capitalist machinery, the workers are confronted with the question how come they always and at any rate serve this machine as canon fodder. 　　The narrator Farocki explains in the film that he had intended to tell the story at the original historic sites, but that these were mostly destroyed and had vanished. The war, which was produced there, had swept them away. Instead the artist Farocki, who in one scene we see at his money job as a picture editor for a print publication, abstracts from the call for "authenticity" and thus clears the table for an argumentative editing of the images. One could say that the film re-interprets the distance to the lost historical moment and turns it into a freedom of thought. Instead of searching the archives, Farocki searches the historical consciousness. This way, the film – even in its primness - also bears testimony of its time and the way in which certain films were made in Germany then. 　　In Between two wars, Harun Farocki attempts to interlock the logic of war with the logic of production as determining dynamics of the years 1918-1933, the period between the two "world wars". By way of didactical acting, voice-over reflections and by applying a associating and analytical montage the film develops its thesis, that in the early 1920's the "necessities" of capitalistic production have become more and more ignorant of the actual needs of the people. Rationalization and the forming of trusts finally lead to a point where the capitalist production machine directly transformed into a warfare and destruction machine. 　　Farocki's film is relevant for the discussion of "The Lost Moment", both in terms of its narrative and in formal and aesthetic terms. Farocki tries to reconstruct the enabling conditions of a historical period, which was to manifest itself as an ultimate catastrophe and which was often not understood or straightforwardly mystified. While the political and economical decision makers are trying to perfect their use of the capitalist machinery, the workers are confronted with the question how come they always and at any rate serve this machine as canon fodder. 　　The narrator Farocki explains in the film that he had intended to tell the story at the original historic sites, but that these were mostly destroyed and had vanished. The war, which was produced there, had swept them away. Instead the artist Farocki, who in one scene we see at his money job as a picture editor for a print publication, abstracts from the call for "authenticity" and thus clears the table for an argumentative editing of the images. One could say that the film re-interprets the distance to the lost historical moment and turns it into a freedom of thought. Instead of searching the archives, Farocki searches the historical consciousness. This way, the film – even in its primness - also bears testimony of its time and the way in which certain films were made in Germany then. 　　The meeting point for the film screenings is always at 9 pm in the exhibition space on the 2nd floor of GfKFB, Kunstfabrik, Am Flutgraben 3. The film screening will then probably take place in a former sales and presentation building in the immediate vicinity. The incomplete emptiness of this room conveys an impression of the parasite use which a globalized economy makes of space and how the appearance of urban space becomes subject to the strategic decisions of a company. 　　Florian Wüst, as a film curator, is interested in political filmmaking in Germany and specifically in the ways in which films deal with the peculiar identity of a "Post-War" society. I see interesting parallels to Farocki's work in the 70's (of which Between two wars is a good example) in Florian Wüst's own artistic production – also in "Belated Advocacy", which deals with the ideology of production in post-war "Wirtschaftswunder" Germany. Especially the use of historical documents, the interest for the linguistic forms of quotation and statement, the use of abstraction and re-enactment and also the self-confident positioning in the distance to the historic moment suggest interesting connections between both oeuvres. 　　Florian Wüst, as a film curator, is interested in political filmmaking in Germany and specifically in the ways in which films deal with the peculiar identity of a "Post-War" society. I see interesting parallels to Farocki's work in the 70's (of which Between two wars is a good example) in Florian Wüst's own artistic production – also in "Belated Advocacy", which deals with the ideology of production in post-war "Wirtschaftswunder" Germany. Especially the use of historical documents, the interest for the linguistic forms of quotation and statement, the use of abstraction and re-enactment and also the self-confident positioning in the distance to the historic moment suggest interesting connections between both oeuvres.

民国初年，日本帝国主义妄图侵略中国的阴谋日渐暴露，为瓦解中国传统武术在民间的影响力，扫清障碍，以“女妖”川岛芳子为主谋开始实施侵华“先锋计划”。一时间，华夏腹地上空杀气腾腾，血腥弥漫。“形意”武馆馆主雷同誓死维护中华精神和民族气节令人钦佩，使人动情。川岛芳子心狠手毒，性情放荡，令人发指。“咏春”拳传人石龙深明大义，历经艰险，创立了武学宗派“截拳”，在中华精武史上写下了光辉灿烂的一笔。　本片主演石天龙外形酷似已故武术宗师李小龙，他创建的中国国际截拳道联盟目前会员达二十万之众，开设截拳道学校培训中心遍布全国各地。由他主讲示范的世界首部截拳道教学片，在中央电视台播出，因其相貌、武功神韵宛如李小龙再现，震动海内外武坛。他曾担任“武警北京特警总队”总顾问，并应邀在北京体育大学及全国各地武术体育院校讲学，交流；在国家奥体中心主擂自由搏击——“华武大擂台”；于南戴河“中国万博文化在”设立“神州第一擂”。征战百余次，从无败绩，被誉为“武林第一硬汉”。

大型航拍系列纪录片《飞越中原》，以空中视角俯瞰中原，共涉及17个省辖市，80个县，共计16集。 　　《飞越中原》，从北方的安阳，到南方的信阳，从山地，丘陵，平原，到河流，湖泊，瀑布，穿越四季，一路记录了河南省各个区域的地形地貌、气候环境、自然生态和民风民俗。 　　本项目共有6个摄制组，8台飞行器历时一年，全程用4k空中影像拍摄完成。

大型航拍系列纪录片《飞越中原》，以空中视角俯瞰中原，共涉及17个省辖市，80个县，共计16集。 　　《飞越中原》，从北方的安阳，到南方的信阳，从山地，丘陵，平原，到河流，湖泊，瀑布，穿越四季，一路记录了河南省各个区域的地形地貌、气候环境、自然生态和民风民俗。 　　本项目共有6个摄制组，8台飞行器历时一年，全程用4k空中影像拍摄完成。

青少年文旅体验微纪录片中优酷少儿蕃尼家族作为“《一脉》特派团”实地探访北京中轴线上的六个地标建筑，少年传承人对话建筑、礼 乐、诗书、京剧、丹青、体育领域的名家讲述人吕舟、方锦龙、辛晓娟、王珮瑜、傅察丹青、王濛，呈现中轴线丰富的历史文化内涵、对当下生活和当地人民的影响力以及未来生长性，传递以北京中轴线为线索的中华民族文化气质，做到了文旅、文娱、文教的有机融合。

青少年文旅体验微纪录片中优酷少儿蕃尼家族作为“《一脉》特派团”实地探访北京中轴线上的六个地标建筑，少年传承人对话建筑、礼 乐、诗书、京剧、丹青、体育领域的名家讲述人吕舟、方锦龙、辛晓娟、王珮瑜、傅察丹青、王濛，呈现中轴线丰富的历史文化内涵、对当下生活和当地人民的影响力以及未来生长性，传递以北京中轴线为线索的中华民族文化气质，做到了文旅、文娱、文教的有机融合。

赵天豪（狄龙 饰）是中原镖局的总镖头，雷大刚（汪强 饰）和杨云翼（龙隆 饰）是他的结拜兄弟，左膀右臂。赵天豪有三个女儿，赵琪瑛（应晓薇 饰）、赵梦娇（林秀玲 饰）赵燕翎（杨丽菁 饰），赵梦娇喜欢着雷大刚的义子郑青山，可是郑青山却钟情于知书达理的赵琪瑛，无奈赵琪瑛早已经有婚约在身。 　　武功高强的司马不平（元彪 饰）来到金陵城要同赵天豪一决高下，却被桀骜不驯的赵燕翎吸引了注意。赵天豪发现赵燕翎违反自己设下的禁令偷偷习武，大发雷霆，父女两人不欢而散。之后，一位神秘人现身，出高价要赵天豪保的，竟然是赵天豪自己的人头。从此，中原镖局平静的生活一去不复返，一股邪恶的势力在江湖之中蠢蠢欲动。