由哈尔滨市委宣传部、平 房区与中央电视台中央新影集团合作 联合摄制的大型纪录片《七三一》举 行开机仪式。该片计划于2014年底或 2015年初在中央电视台纪录频道黄金 时段首播。 　　据了解，侵华日军第七三一部队 遗址既是揭露日本军国主义残暴罪行 的现实证据，也是哈尔滨市特有的历 史文化资源。此片采用纪录片的形 式，全方位客观地揭露侵华日军“七三 一”部队的罪恶行径，还原真实历史。 这部电影采用亲历者访谈、专家学者 访问、实景再现、动画复原、档案解 密等拍摄手法，围绕“七三一”细菌部 队相关史实，揭露日本侵略军在华细 菌战的罪行。

由哈尔滨市委宣传部、平 房区与中央电视台中央新影集团合作 联合摄制的大型纪录片《七三一》举 行开机仪式。该片计划于2014年底或 2015年初在中央电视台纪录频道黄金 时段首播。 　　据了解，侵华日军第七三一部队 遗址既是揭露日本军国主义残暴罪行 的现实证据，也是哈尔滨市特有的历 史文化资源。此片采用纪录片的形 式，全方位客观地揭露侵华日军“七三 一”部队的罪恶行径，还原真实历史。 这部电影采用亲历者访谈、专家学者 访问、实景再现、动画复原、档案解 密等拍摄手法，围绕“七三一”细菌部 队相关史实，揭露日本侵略军在华细 菌战的罪行。

近年解密的伯力审判庭审录音揭开了隐藏在黑暗背后的历史，该片首次以侵华日军战犯在法庭上的供述为主线，从全新的视角，真实、客观地还原了侵华日军第七三一部队灭绝人性的罪恶。摄制组辗转多个国家和省、市、自治区，抢救性录制了大量历史口述实录。全片依靠详实的证据，揭露了日本军国主义践踏国际公约、反人类的罪行，控诉了日本细菌战和人体实验对中国人民造成的巨大伤害，警示后人勿忘历史、警钟长鸣。

公元1235年，蒙古大军兵分三路南下，目标直指偏安江南一隅的南宋。 　　出人意料的是，凭借犀利“斡腹”战术而所向披靡的蒙古铁骑，竟然在南宋的“三大战区”防御体系面前接连遇挫。 　　直到忽必烈继任大汗后的公元1268年。蒙古突然改变进攻策略，决定从中路直取襄阳，由此开始了一场长达六年的攻守之战。 　　一场博弈在两方素有渊源的主帅之间展开。一方是南宋叛将，对南宋战术打法了如指掌，且有勇有谋；一方是南宋主力，有着丰富的守城经验，城防坚固且装备精良。 　　近六年的时间里，他们之间将会有着怎样的周旋与较量？究竟是什么成为了决定最后胜负的关键？这场战役的结果又将对南宋王朝、甚至中国历史的走向产生怎样的影响？

日本关东军第七三一部队是日本侵华期间从事细菌战和人体实验的大本营，反人类罪行震惊世界。系列微纪录片《七三一 恶魔的饱食》关注七三一部队的罪证，从史实入手，聚焦一个人物、一个事件、一件文物、一处旧址、一份档案以及一个项目，揭露了日本军国主义违背国际公约进行细菌战和人体实验的罪行，既具历史价值，更有现实意义。

公元1235年，蒙古大军兵分三路南下，目标直指偏安江南一隅的南宋。 　　出人意料的是，凭借犀利“斡腹”战术而所向披靡的蒙古铁骑，竟然在南宋的“三大战区”防御体系面前接连遇挫。 　　直到忽必烈继任大汗后的公元1268年。蒙古突然改变进攻策略，决定从中路直取襄阳，由此开始了一场长达六年的攻守之战。 　　一场博弈在两方素有渊源的主帅之间展开。一方是南宋叛将，对南宋战术打法了如指掌，且有勇有谋；一方是南宋主力，有着丰富的守城经验，城防坚固且装备精良。 　　近六年的时间里，他们之间将会有着怎样的周旋与较量？究竟是什么成为了决定最后胜负的关键？这场战役的结果又将对南宋王朝、甚至中国历史的走向产生怎样的影响？

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?