Introduction to Intellectual Property: Crash Course IP 1 　　Copyright Basics: Crash Course Intellectual Property 2 　　Copyright, Exceptions, and Fair Use: Crash Course Intellectual Property #3 　　Patents, Novelty, and Trolls: Crash Course Intellectual Property #4 　　Trademarks and Avoiding Consumer Confusion: Crash Course Intellectual Property #5 　　International IP Law: Crash Course Intellectual Property #6 　　IP Problems, YouTube, and the Future: Crash Course Intellectual Property #7

Introduction to Intellectual Property: Crash Course IP 1 　　Copyright Basics: Crash Course Intellectual Property 2 　　Copyright, Exceptions, and Fair Use: Crash Course Intellectual Property #3 　　Patents, Novelty, and Trolls: Crash Course Intellectual Property #4 　　Trademarks and Avoiding Consumer Confusion: Crash Course Intellectual Property #5 　　International IP Law: Crash Course Intellectual Property #6 　　IP Problems, YouTube, and the Future: Crash Course Intellectual Property #7

深冬时节，白雪皑皑。在森林深处有一间小木屋。木屋上着锁，许久没有人来了。小屋最里面的煤炉中，那两只调皮可爱的花栗鼠躺在火柴盒做成的床里呼呼大睡，舒适的干草做成的被子让他们不用担心寒冷的侵扰。雪停了，天空开始放晴。小家伙们从睡梦中苏醒，他们洗脸漱口，舒展筋骨。这时，屋外传来了说话声，那是小屋的主人米奇以及他的爱犬布鲁托。主仆二人走进来，准备生火取暖，这可吓坏了炉子中的花栗鼠兄弟。他们起先打跑了试图放木柴的布鲁托。生气的布鲁托本想抓住他们，反被米奇骂了一顿。 　　这可气坏了布鲁托，他想尽办法要烧死这两个小坏蛋……

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。

无数的几何圆锥体汹涌而来。在暗棕色空旷的空间里，一位老者正焦急不安地坐在长椅上。他好像在等人，时不时地看表；又像是想马上离开，躲避即将发生的一切。突然间，从远方如千军万马呼啸而过的几何圆锥体，抢走了老人的帽子。 　　这部不足两分钟的超现实主义实验动画短片，是导演埃兰·希勒尔大学二年级的作品。埃兰一人自编自导制作完成了此片，短片的绘画灵感来自演艺界的吉恩·迈克尔。埃兰毕业于以色列国家艺术学院——比撒列艺术学院。学院融合中东和欧洲民族风格的艺术氛围，深深地影响了埃兰，在他的作品中皆有体现。