Dziga Vertov's Entuziazm is considered a masterpiece of early sound film and of Soviet avant-garde cinema. Dealing with the Five Year Plan of the late 1920s, it was praised by artists like Charlie Chaplin, was subsequently forgotten, and rediscovered by the avant-garde movement of the 1960s. 　　This edition presents the film, for the first time on DVD, in two versions: the print preserved in the former Soviet Union's Gosfilmofond as well as Peter Kubelka's fascinating restoration which - by re-syncing the image and sound - allows the viewer to experience what Vertov considered the new language of sound cinema. In Restoring Entuziazm, Peter Kubelka - filmmaker and co-founder of the Austrian Film Museum - demonstrates the principles of his restoration work und discusses Vertov's concepts of cinema. The Extras section presents two more rare documents from the Austrian Film Museum's Vertov collection. 　　Enthusiasm: Symphony of the Donbas, Vertov's paean to the Soviet first Five-Year Plan for economic development (1928-32), clearly has a "three-movement" form. Beginning with an overture on the elimination of all the old detritus impeding full socialist construction (particularly religion and alcoholism), the film moves into a middle section that passes through many of the stages of heavy industrial production to culminate in a final movement, where the products of industrialization flow back to the USSR (most notably to the countryside) and are celebrated. 　　The film is classicly Vertovian in its reflection upon its own constructed nature. Like Man with a Movie Camera, Enthusiasm seems to begin twice: the music we hear (and watch) being heard in the film's first shot is later repeated, with the woman auditor replaced by a male conductor in a radio studio. The production, transmission, organization and audition of sound enter our own conscious reception of the film. Thus Enthisiasm is a three-levelled film, with the audience's auditory experience, the film as a sound-image construct, and the documentary character of the film's basic materials all co-present and woven together as part of a reflexive texture remarkable at this early date in the history of sound film, and inspirational for many later experimenters, including Peter Kubelka and Richard Serra.

一场战争在乌克兰东部的顿巴斯爆发，由此衍生出军事冲突、犯罪行动以及分裂主义者主导的大肆劫掠。在顿巴斯，战争已是常态，政府宣传自诩真相之源，仇恨变成了爱的方式。走入顿巴斯，就像踏上一场疯狂的旅行，悲剧和荒谬与生死相交织。这并不是一个关于某个地区、某个国家或某种政治体系的故 事，而是展示了一个迷失于谎言与真相，寻找自我身份的失落的世界，这事关我们每一个人。

http://www.film-documentaire.fr/4DACTION/w_fiche_film/49339_1 　　Anne-Laure Bonnel是一位年轻的法国记者，同时也是孩子的母亲。她决定在一位乌克兰父亲Alexandre的陪伴下，前往顿巴斯，也就是乌克兰东部亲俄的地区。 　　深处战争风暴中心，她捕捉到了那些记录了致命冲突和前所未有的人道主义灾难的惨烈影像。 　　影片《顿巴斯》，是一部沉浸式的公路电影，一部以一个饱受摧残的国家为背景的惊心动魄的纪录片。 　　记录战争，并不等同于记录战斗场景。 　　如果战争是一种景观，我们常常会忘记围绕在战争周围的人或事。在景观的聚光灯之外，所有人都在努力生活着，或者更确切的说：努力生存。 　　《顿巴斯》为这些人发声。 　　Anne-Laure Bonnel通过这个纪录片，审视冲突的普遍性，并为我们拍摄了没有得到足够展示的“一面”。

院長の息子で外科医の千尋は、麻酔薬で朦朧となり男を抱く幻覚を見るのが趣味。ある日、千尋は看護師のワタルを尾行し、共にバスケットを楽しんだ。そんな二人を見ていたのは病院事務長の吾郎。吾郎は勝田という恋人がいるにも関わらず、ワタルを狙っていた。やがて、しっぽり愛し合う千尋と吾郎。しかし、病院の実権を握りたい吾郎は、勝田を使って千尋の失脚を企てるが…。

男主角瓜生新吾是“各务台学园”的普通学生。不过该学校由于各种原因的关系，在新学期开始的时候将同名叫“结姬女子学园”的名门女校进行合并。为了让学生能够更加融洽地相处，校方在新学期开始之前实行了试行合并，包括新吾在内的数十名各务台学园生试验性地到结女学园上学。而男生的出现也在女校引发了不小的骚动，众多个性丰富的妹子们也扎堆似的出现在了男主角的面前。那么包围在后宫般的环境当中，新吾又将从何选择呢…… 《纯白交响曲》（ましろ色シンフォニー）是日本游戏公司palette（ぱれっと）于2009年10月30日发售的美少女游戏，含有副标题的的全名是《ましろ色シンフォニー -Love is pure white-》。于2011年由Manglobe公司出品。自2011年10月4日起播映。共播放12集（已完结）。

本片是一部时长为21分钟的旅游宣传片，由丹麦旅游局策划制作。全片没有任何剧情，也为配上解说词。短片从丹麦乡下清晨的自然风光入手，全景展示了这个北欧童话之国的风貌。本片的剪辑尤为出色，其对比蒙太奇等电影手法运用娴熟，使得一些司空见惯的自然与人文景观在剪辑师的妙手以及灵动音符的衬托下焕发了令人惊喜的活力。从中不仅可以感受到北欧铺面而来的文化气息，更可触摸到一个国家、一片土地、一个民族永不疲倦并且乐观向上的灵魂。 　　该片在许多电视制作专业课上作为范本播放，是所有电视工作者不可错过的经典教材。

A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The figure vanishes and the process begins again with a new pattern, each cycle lasting one or two seconds. The complete figures are drawn in a vaguely Art Deco style and could be said to resemble any number of things, an ear, a harp, panpipes, a grand piano with trombones, and so on, only highly stylized. The tone is playful and hypnotic.

Various saints are logging details of everyone entering Heaven, but because they're a bit out of touch with early 1950s slang, they come up with some very strange impressions of a recently deceased young man's life when he describes it to them.

故事开始于1830年的萨克森王国德雷斯顿音乐厅中，二十岁的年轻人舒曼（赫贝特·格勒内梅厄 Herbert Grönemeyer 饰）被台上正在演奏的小提琴家所打动，发誓自己也要在钢琴界里闯出一片天地。虽然迫于母命，舒曼正在研读法律，但是很显然，什么也阻止不了他对音乐的热情了。 　　之后，舒曼拜威克（罗尔夫·霍帕 Rolf Hoppe 饰）为师，威克非常欣赏舒曼的天赋，与此同时，威克的女儿克拉拉（娜塔莎·金斯基 Nastassja Kinski 饰）也是一名非常优秀的音乐家，两人一起练习，一起探讨，一起生活，随着时间的推移，两颗心渐渐靠近。可是，对于这段感情，威克持有强烈反对的意见。

1931年，应苏联导演普多夫金的邀请赴苏联访问了3个月，伊文思在那里做了几十次演讲，并放映了自己的影片，也观看了杜甫仁科等苏联电影工作者的作品。回荷兰后，应“菲利浦电器公司”之请，拍摄了宣传片《工业交响曲》（又名《菲利浦收音机》）。他不顾厂方严格的限制，在影片中揭示了高度机械化劳动对工人的身体和精神造成的损害。