成书于二千多年前的《黄帝内经》是本什么样的书？ 　　被誉为中国奉献给世界的三 大奇书（另外两部为《易经》与《道德经》）之一 　　唐代鉴真东渡日本，带去《黄帝内经·太素》。这本书，至今还供奉在日本的皇家寺院中，奉为国宝。 　　北宋时，高丽国进献《黄帝内经·灵枢》，要求以此交换中国历代史等书。苏轼五次奏本反对，皇帝仍坚持以《册府元龟》等书换回《黄帝内经》。 　　21世纪现代医学提出的生态医学等观点，竟然与二千多年的《黄帝内经》相同…… 　　如果说，通过一部纪录片便能了解中国传统文化博大、精深的思想，那么，这就是纪录片《黄帝内经》。 　　如果说，通过一部纪录片便能破译中国传统文化的核心机密，那么，这还是纪录片《黄帝内经》。 　　如果说，通过一部纪录片便能了解中国独特的养生思想，那么，这仍然是纪录片《黄帝内经》。 　　今天西方发达国家刚刚兴起的如医学地理学、医学心理学、气象医学、时间医学等先进学科，却在2500年前的《黄帝内经》中得到了极为完善的表述。当今世界上，还找不到一部着作能像《黄帝内经》这样，将哲学、医学、养生学、地理学、天文学、气象学、数学、心理学、甚至美学、乐理等等学科融会贯通、凝聚一体；还难以找到一部像《黄帝内经》这样独一无二的、天才的、博大精深的生命科学巨着。 　　这是一部不朽的奇书，至今仍在指导着中医理论研究和临床实践。 　　通过这部着作我们将会知道，人可以自然地度过百岁，长寿不是每天摄取多少维生素多少蛋白质，五脏不是解剖学的五脏，精神的力量何等巨大……重要的是，我们将学会一种独特的思维，一种精妙无比的思维，你可以在任何领域运用这种思维。 　　这是另一种思维，另一种生命表述，另一种方法论，另一种文化宝典。 　　本片的全部作为，就是使《黄帝内经》这部天书通俗易懂。为此，本片涉及了大量中国历史、医史，收集了大量历史故事和珍贵文物，从远古，到伏羲、神农、黄帝，到夏商周秦汉唐宋元明清，使深奥的理论通俗化趣味化。除了关照对中国传统文化感兴趣的观众外，我们还针对中医爱好者、中医学子，精心挑选了八十多个古代医案，令本片更加妙趣横生。同时，我们采访了数十位当今中国第一流中医专家，可令中医从业人员大大获益。 　　作为中国人，我们十分幸运，因为我们有《黄帝内经》，这是我们伟大的祖先传给我们的。 　　我们的祖先怀着对后世子孙的无限关爱留下了《黄帝内经》； 　　我们怀着对祖先无比的崇敬、对当代人民以及后世子孙的无限关爱，将电视图书《黄帝内经》呈现给世人。

《肥志百科》是一部用可爱的表达方式向读者讲述各类自然和人文知识的动画作品，在本内容中，主角“肥志”是一个爱讲故事的小哥哥。第1-7季将为大家讲述各种动物、植物和美食的小故事，将不同学科的知识融汇其中，为读者创造了一种轻松萌趣的科普阅读体验，还有更多意想不到的趣味百科知识正在路上。

《黄帝内经》是一部神奇的医书，它承载着中国古代医学的博大精深与辉煌成就。历经两千多年岁月沉淀，这部医书依旧闪耀着璀璨光芒。与西方医学相比，这部源自东方古国的医学经典，在对人体的认识上究竟有何高妙之处？从这部凝聚着古代先贤智慧的传世名著中，我们又能学到哪些治病养生的良方呢？

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

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

从虚拟技术诞生的第一天起，这个世界就已经被改变了。我们的人生，我们的生命将不再是单一维度和单线程的。这部名为《1/7人生》的系列剧，将从人生的七个维度尝试着探讨这一话题，在不久的将来，虚拟与现实或许将不再是平行和对立关系，而意味着更多……

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．