《难产的社头》是一部基于深厚实地调研的人类学民族志影片。作者吴乔副研究员在云南元江河谷花腰傣地区进行了超过一年半的田野工作，学会了花腰傣语言，记录了整个社区的谱系，用参与观察和深入访谈的方式获取第一手素材，对这个族群的文化有了系统而深入的把握。影片以一个情节完整的故事为线索，从一个少数民族社区的日常生活折射出城镇化、现代化、经济市场化之下农村社会的深刻变化。 　　Each Floral-belt Dai village has a male “Commune-head” who take charge of annual collective ceremonies as “Village Sacrifice” and “Vill age Exorcism”. These are purification rituals and fete for the village’s god “Buzhaoshe”. Besides, there’s a “Village’s Chief Witch” who’s responsible for communication with the god through trance. This man and woman compose the traditional hierarchy of a Dai village. The Commune-head is picked out through a God election ritual. Every adult man of the village offers a clothes and a bowl of rice to the ritual. A presider weighs all candidates’ clothes with a steelyard. With rice putting in or out the clothes, he makes all clothes balanced. Then he prays to the god Buzhaoshe, and weighs the clothes again. This time some clothes turn heavier. The heaviest one enables its owner to be the new Commune-head. This is an old custom of the Dai people which lasts thousands years. But this year we witnessed an unprecedented challenge in the Areca Village. Through the ritual of several days, all chosen ones refused to become Commune-head desperately. The ritual could not be fulfilled in a panic. Villagers disputed over the situation. Powers conflict in this gambling. In the following days, villagers provided four solutions. Among which emerges the tension between tradition and new culture, folk belief and government agents. Days later, Areca Village held a full member gathering, in which villagers made their decision through “voice voting”. Two months later, in the Reelecting of the Village Committee, the old mayor of the village was voted out. A year later, the new mayor made nice to conciliate the tradition power. New balance was established over odds. This becomes the epilogue of this documentary.

《难产的社头》是一部基于深厚实地调研的人类学民族志影片。作者吴乔副研究员在云南元江河谷花腰傣地区进行了超过一年半的田野工作，学会了花腰傣语言，记录了整个社区的谱系，用参与观察和深入访谈的方式获取第一手素材，对这个族群的文化有了系统而深入的把握。影片以一个情节完整的故事为线索，从一个少数民族社区的日常生活折射出城镇化、现代化、经济市场化之下农村社会的深刻变化。 　　Each Floral-belt Dai village has a male “Commune-head” who take charge of annual collective ceremonies as “Village Sacrifice” and “Vill age Exorcism”. These are purification rituals and fete for the village’s god “Buzhaoshe”. Besides, there’s a “Village’s Chief Witch” who’s responsible for communication with the god through trance. This man and woman compose the traditional hierarchy of a Dai village. The Commune-head is picked out through a God election ritual. Every adult man of the village offers a clothes and a bowl of rice to the ritual. A presider weighs all candidates’ clothes with a steelyard. With rice putting in or out the clothes, he makes all clothes balanced. Then he prays to the god Buzhaoshe, and weighs the clothes again. This time some clothes turn heavier. The heaviest one enables its owner to be the new Commune-head. This is an old custom of the Dai people which lasts thousands years. But this year we witnessed an unprecedented challenge in the Areca Village. Through the ritual of several days, all chosen ones refused to become Commune-head desperately. The ritual could not be fulfilled in a panic. Villagers disputed over the situation. Powers conflict in this gambling. In the following days, villagers provided four solutions. Among which emerges the tension between tradition and new culture, folk belief and government agents. Days later, Areca Village held a full member gathering, in which villagers made their decision through “voice voting”. Two months later, in the Reelecting of the Village Committee, the old mayor of the village was voted out. A year later, the new mayor made nice to conciliate the tradition power. New balance was established over odds. This becomes the epilogue of this documentary.

Melvyn Bragg explores the relationship, from 1911 to 2011, between class and culture.

Melvyn Bragg explores the relationship, from 1911 to 2011, between class and culture.

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.