【主宰】一群投稿者在一张地图上找不到的池塘里钓鱼，突然出现的究竟是灵魂还是某种生物？！ 　　【家暴】一名男子持续记录妻子对他的暴力行为，《封印影像》工作人员追踪到的，是一场禁忌的仪式！ 　　【爱车】投稿者所拥有的汽车中，发生了一连串怪异现象。无法用常理解释的惊悚结局到底是什么？ 　　【创作者 后篇】自称“创作者”的男子的最终命运让人毛骨悚然！《封印影像》工作人员勇敢打开禁忌之门，揭开更深的恐惧！

以影像记录时代变迁，以影像传递青年观点。由芒果TV大芒计划和中国传媒大学举办的“芒种?年创作季”旨在挖掘青年影像创作者的无限潜力，为敢想敢创的青年人提供更广阔的发展平台。

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )

马丁·斯科赛斯得到了一份希区柯克的“剧本残稿”，他决定再现这三页半的一场戏。拍出的效果相当精彩，无数希区柯克的精彩元素仅在其中，但是，这真的是一份希区柯克的遗稿么？马丁这个头号希饭，戏里戏外进行了一场双重致敬。

马丁·斯科赛斯得到了一份希区柯克的“剧本残稿”，他决定再现这三页半的一场戏。拍出的效果相当精彩，无数希区柯克的精彩元素仅在其中，但是，这真的是一份希区柯克的遗稿么？马丁这个头号希饭，戏里戏外进行了一场双重致敬。