Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

纪录一座教堂的修复过程。这座位于神户的教堂由安藤忠雄设计，于1986年完工，是他的「教堂三部曲」之一。在这部短片中，我们能够清晰地看到修复之前与重生后的「风之教堂」。

1928年，伊文思第一次赴巴黎，试图探讨摄影机的表现可能性，并在那里拍摄了一部4分钟的短片《对运动的研究》。 　　Images of mostly traffic in Paris, a.o. seen from the appartment of Germaine Krull or shot while walking through the city with her. Here already the influence of the Russina avant-garde films can be seen clearly, e.g. when looking at the diagonal frame compositions.

在日本留学回来的华民初，坐上了前往北京的火车。疲于长途奔波的他，一心只想回到北京，见到自己的亲人。然而在火车上，他却遇见了一些奇怪的人，这些人称自己为八行中人，正在寻求合适妥善的方式解散八行。其中有古灵精怪的花谷，还有身手高超的一方，以及气质超凡脱俗的金绣娘。原来是外八行的人收到消息，据说十行者绘卷就藏在乘坐这趟火车的南方和谈使节身上，而十行者绘卷是八行传承宝物，对于解散之事非常关键，因此他们必须得到绘卷。此时突然出现的炸弹制造了混乱，危急时刻，携带炸弹的人突然被杀，华民初的学弟柯书在紧要关头出手拆除了炸弹，得救的众人欢呼，华民初却觉得事情并没有这么简单。果不其然，一阵黑暗之后，南方和谈使节不知道被谁所暗杀，并且杀害南方和谈使节的凶器，是华民初随身携带的一把短刀。一波惊心动魄的危机暂时解除，列车安全到站。原来火车上的一切是京畿卫戍司令方远极和八行中的章三爷精心设计下来的圈套，目的就是为了引出外八行，将刺杀使者之事嫁祸八行。

法国犯罪喜剧片。Serge、Lucien、Henri和Max是四个好友，一次抢劫卡第亚珠宝行的行动，虽然计算精妙，却因意外导致马克斯失手入狱，其他三人亡命天涯。25年后，三人一事无成，生活窘迫，某天同时收到马克斯的来信。马克斯已死狱中，然而留下遗嘱，将藏下价值5亿法郎的钻石分于三位老友，条件是找到他的儿子，并当他的教父，考查他的品性，如果过关，Serge、Lucien、Henri就可以和MAX的儿子一起分享这笔巨款，可事情的发展，完全出乎他们的预料……

Professor Diarmaid MacCulloch explores how Christianity has shaped western attitudes to sex, gender and sexuality throughout history

Professor Diarmaid MacCulloch explores how Christianity has shaped western attitudes to sex, gender and sexuality throughout history

A parody of past religious geared animated shows starring Orel, an optimistic God fearing young boy in a world of cynicism.

A parody of past religious geared animated shows starring Orel, an optimistic God fearing young boy in a world of cynicism.