本片根据韩国科幻故事情改编而成。身形如龙与巨蟒混合而成的未知生物伊莫吉(Imoogi)大举入侵了人类世界。很有正义精神的记者艾顿(杰森•贝尔饰)奉上级的…

1885年，法军进攻越南凉山，驻守清军不战而退，清朝政府的统治地位遭到威胁，慈禧召集众臣商讨派谁挂帅，最终启用了年近七旬的退隐老将冯子材，但当时广…

影片将以清朝大将冯子材的故事为主线，讲述他带领士兵英勇抗击外敌，取得了中国近代史上最重要的一场胜利——镇南关大捷的传奇经历。

故事开始于公元前420年，此时，罗马帝国灭亡，野蛮人大军践踏着英格兰的领土，在这个生灵涂炭的节骨眼上，一位受诅咒的婴儿诞生了，他就是梅林（Simon Lloyd Roberts 饰）。在传说中，他是恶魔的孩子，将会给世界带来灭顶之灾，然而，巫师们并不相信预言所言，决定将他抚养长大。 　　青年时期，梅林就已经展露了过人的魔法天赋，受到了整个魔法界的关注。凡帝格（Joseph Stacey 饰）和梅林一样也是被巫师收养的孩子，却因此而感受到了冷落，这让他十分的妒忌，于是暗中通敌野蛮人大军，意图借他们之手，消灭梅林。梅林虽然天赋异禀，却仍然不够强大，他必须找到失传的王者之剑，召唤强大的军队和自己并肩奋战。

从狱中释放的山中正治（北大路欣也 饰）吃霸王餐引发冲突，也籍此结识了美丽的寡妇靖子（梶芽衣子 饰），并拜入村冈组的门下。曾为村冈组敌对帮派大友联…

故事讲述在22世纪的人类世界，一只身份来历不明的火恐龙横空降落在洛小熠等六名斗龙战士的生活城市，相继吸引了阿迪和六大守护龙前来人类世界，为了追踪火恐龙真相，阿迪与斗龙战士被不明光圈吸到另一个空间—阿莱达星基地。斗龙战士在阿莱达得知火恐龙出现人类世界的原因，为了阻止这些给人类世界带来危险的恐龙，斗龙战士肩负起维护正义和平使命，决定找回龙印。斗龙战士带着阿莱达发明的战斗拍档—宝贝龙开启维护和平及找回龙印的旅程！

22世纪的人类世界，一只身份神秘的火恐龙突然降落在洛小熠等六名斗龙战士生活的城市，这一情况相继引来了阿迪和六大守护龙来到人类世界。为了探寻火恐龙的真相，阿迪和斗龙战士被一个不明光圈吸到了另一个空间——阿莱达星基地。在阿莱达，斗龙战士了解到火恐龙出现在人类世界的缘由。为了阻止这些会给人类世界带来危险的恐龙，斗龙战士肩负起维护正义与和平的使命，决定找回龙印。随后，他们带着阿莱达发明的战斗拍档——宝贝龙，踏上了维护和平以及找回龙印的旅程。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html