影片由两个爱情故事组成，first, second, third （一而再三）和love is a book（爱是一本书）。 　　前者讲的是一对男性恋人，从性关系开始，到产生情愫，彼此坦诉的相识和相恋。后者讲的是一对女性恋人，时隔多后的重逢时刻，过去情感的翻涌和对现实的无奈，强烈碰撞。爱是一本书，他们处在情感的不同篇章，却有着相似的、暧昧的、纯粹爱恋。

一个男人来到图书馆，归还自己借了多年的书，却发现图书馆即将关门大吉。

一个男人来到图书馆，归还自己借了多年的书，却发现图书馆即将关门大吉。

新一季将完成一次新时代丝绸之路的文化之旅，全片共8集，每集30分钟。 　　两年的时间里，摄制组沿着古丝绸之路，通过西安、银川、乌鲁木齐、福州、圣…

《一本书一座城》是浙江卫视主持人李晗担任制片人兼主持人的首档城市文化纪录片，以一本书为视角切入城市，讲述这座城市的历史、人文、风俗等。节目融合…

《一本书一座城》是浙江卫视主持人李晗担任制片人兼主持人的首档城市文化纪录片，以一本书为视角切入城市，讲述这座城市的历史、人文、风俗等。节目融合中西文化，影像唯美、情感细腻、风格清新，每一集根据作品本身的境界和城市自身的气质形成独有风格，第一季（八集）将行走八座城市，阅读八部作品。 　　大型周播城市纪录片《一本书一座城》以一本书为视角切入城市，讲述这座城市的历史、人文、风俗等，融合中西文化，表达个人文化情怀，涉及伦敦、巴黎、柏林、北京、上海、杭州、香港和台北八大城市。首度担任纪录片制片人的李晗将带领拍摄团队，在八大世界文学名城中诠释“行走的力量”。谈及做这档节目的初衷，李晗表示：“城市是文化集大成者，把读书跟读城结合起来，既是读书，同时也是一个行走类的纪录片，称得上是自己的一次圆梦之作。” 　　首期节目《再会，老北京》，李晗将镜头对准了蕴含着浓郁的文化气息，堪称一座座民俗风情博物馆的北京胡同，通过国外友人、胡同居民、拆迁百姓等人物多角度来讲述自己眼中的胡同文化。正是这样一档品书、品城、品文化的节目，被不少网友将其与同台播出的《十二道锋味》联系起来。对此，李晗用“殊途同归”四个字来概念两者的关联。“《一本书一座城》展示得是有品位有故事有人文情怀的城市风景，《十二道锋味》是从美食美景美女的角度来展示，其实是殊途同归，都是传递给大家一个更宏观的视野更大的世界。”李晗如是说。 　　纪录片主创个个“学霸” 堪称最高学历幕后班底 　　纪录片是以真地真人真事为表现对象，并对其进行艺术的加工与展现，用真实引发人们思考的艺术形式，这离不开一个有高文化水准的制作团队。《一本书一座城》的国际幕后制作班底便在这方面拥有着超强优势。节目制片人兼主持人李晗拥有北京电影学院电影管理系文学学士、伦敦大学戈德史密斯学院跨国传播与全球媒体专业文学硕士的高学历，现担任《新闻深一度》《人文深呼吸》《中华好故事》主持人，是浙江卫视当红人气女主播。 　　作为前央视纪录片导演，该片导演之一的洪家春是北京大学文学学士及香港中文大学文学硕士，同时也是美国在读博士；两位撰稿卢冶、李扬帆学历分别是北京大学中文系在读博士、北京大学国际关系学院副教授；甚至连助理也是伦敦大学学院电影学研究生。这样的“个个学霸、人人高学历”的超强阵容，难怪被不少网友称为“史上最高学历的纪录片幕后班底”。 　　浙江卫视全新起航 《一本书》成“美‘立’富强”急先锋 　　2015年，浙江卫视在新的一年全新起航，提出“美‘立’富强”新理念：人文节目要美、新闻要立、电视剧要富、综艺要强。大型城市人文类纪录片《一本书一座城》正是符合了“美”的标准。影像基调清新、现代、年轻化，在专题纪录片的基础上增加纪实拍摄，以增添生动的生活以及当地人的视角；在纪实纪录片的基础上追求精美的拍摄，以展现城市空间的人文风情。 　　《一本书一座城》首期节目以《再会，老北京》这本书为引，想跟美女主持李晗一起走进这座拥有三千余年历史，八朝古都的历史文化名城，走进老北京胡同的寻常百姓家吗？敬请关注，每周一晚23：10浙江卫视播出的《一本书一座城》。

新一季将完成一次新时代丝绸之路的文化之旅，全片共8集，每集30分钟。 　　两年的时间里，摄制组沿着古丝绸之路，通过西安、银川、乌鲁木齐、福州、圣彼得堡、伊斯坦布尔、布拉格、罗马八座城市里伟大作家的作品，寻找最深层次的城市精神，并通过鲜活的人物故事，来展示城市的文化基因，透视新丝路上古老文明的前世今生。

浙江卫视人文纪录片《一本书一座城》第二季，沿着古丝绸之路，通过西安、银川、乌鲁木齐、福州、圣彼得堡、伊斯坦布尔、布拉格、罗马八座城市里伟大作家的作品，寻找最深层次的城市精神，并通过鲜活的人物故事，来展示城市的文化基因，透视新丝路上古老文明的前世今生。

The medieval church cannot be understood without recognising that death was at its heart. Richard Taylor shows how churches were design ed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. 　　He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted in the decoration of windows, floors and walls at such remarkable sites as Malvern Priory in Worcestershire. 　　Taylor explains the medieval obsession with purgatory and how this again transformed our churches with the building of elaborate chantry chapels, where Masses could be said to ease the journey of departed souls into heaven. 　　Information 　　Author Richard Taylor examines how the imagery, symbols and architecture of English parish churches have inspired, moved and enraged people down the centuries. 　　Part 1: Dark Beginnings 　　Presenter Richard Taylor explains how churches were originally simple buildings intended to protect the altar and the most important Christian rite of all, the Eucharist. He visits Britain's finest early medieval churches to untangle the mystery of why the Anglo-Saxons and Normans seem to have been unwilling to shake off their pre-Christian past and to have continued to fill their sacred buildings with mysterious pagan images. An ancient book in an Oxford library helps Richard find an answer. 　　Part 2: Medieval Life 　　Richard Taylor uncovers evidence that shows how and why our parish churches came to play such a crucial role in the everyday life of the Middle Ages. He looks at how humorous wall paintings and intricate carvings were used to teach moral lessons and how carved angels in such churches as Blythburgh were used to create a heaven on earth. He finds out how rites such as baptism and the largely forgotten ritual known as the 'churching of women' offered people protection from the cradle to the grave. 　　Part 3: Medieval Death 　　Richard Taylor shows how churches were designed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted on the windows, floors and walls of sites like Malvern Priory. Taylor explains how the medieval obsession with purgatory transformed churches with the building of chantry chapels. 　　Part 4: Reformation - Chaos and Creation 　　With the help of art historian Sister Wendy Beckett and a stained-glass window, Richard Taylor tries to understand the intense medieval devotion to the Virgin Mary and how this fuelled the anger of the Reformation that followed. Richard 'reads' a ruined church and explains how it was not Henry VIII but his boy-king successor, Edward VI, who was responsible for the greatest changes in the Reformation. He also traces how the Book of Common Prayer and the translation of the Bible into English transformed the way that the English worshipped and the appearance of their churches. 　　Part 5: Restoration and Reason 　　Church life in the 18th century is often thought to have been genteel and dull, but Richard Taylor finds that churches in this Age of Enlightenment reflect the intellectual excitement, the vigour and the potential for conflict of a turbulent time. He shows how the symbols in the everyday parish church reveal the ever-closer identification between church and state and he tries out the triple-decker pulpit at St Mary's in Whitby, and he discovers how the London churches of Christopher Wren and Nicholas Hawksmoor reflect the latest scientific insights and archaeological discoveries of the age. 　　Part 6: The Victorians and after 　　Richard Taylor discovers how, during the industrial revolution, medieval imagery and ritual make a surprise return to Victorian places of worship and plunge the Anglican Church into conflict. Richard retraces the controversy surrounding this Oxford Movement of Anglo-Catholics and explores their finest churches. He sees how the impact of war in the 20th century is reflected on imagery in our churches and how the First World War brought a return to another medieval practice - the commemoration of the dead.

The medieval church cannot be understood without recognising that death was at its heart. Richard Taylor shows how churches were design ed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. 　　He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted in the decoration of windows, floors and walls at such remarkable sites as Malvern Priory in Worcestershire. 　　Taylor explains the medieval obsession with purgatory and how this again transformed our churches with the building of elaborate chantry chapels, where Masses could be said to ease the journey of departed souls into heaven. 　　Information 　　Author Richard Taylor examines how the imagery, symbols and architecture of English parish churches have inspired, moved and enraged people down the centuries. 　　Part 1: Dark Beginnings 　　Presenter Richard Taylor explains how churches were originally simple buildings intended to protect the altar and the most important Christian rite of all, the Eucharist. He visits Britain's finest early medieval churches to untangle the mystery of why the Anglo-Saxons and Normans seem to have been unwilling to shake off their pre-Christian past and to have continued to fill their sacred buildings with mysterious pagan images. An ancient book in an Oxford library helps Richard find an answer. 　　Part 2: Medieval Life 　　Richard Taylor uncovers evidence that shows how and why our parish churches came to play such a crucial role in the everyday life of the Middle Ages. He looks at how humorous wall paintings and intricate carvings were used to teach moral lessons and how carved angels in such churches as Blythburgh were used to create a heaven on earth. He finds out how rites such as baptism and the largely forgotten ritual known as the 'churching of women' offered people protection from the cradle to the grave. 　　Part 3: Medieval Death 　　Richard Taylor shows how churches were designed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted on the windows, floors and walls of sites like Malvern Priory. Taylor explains how the medieval obsession with purgatory transformed churches with the building of chantry chapels. 　　Part 4: Reformation - Chaos and Creation 　　With the help of art historian Sister Wendy Beckett and a stained-glass window, Richard Taylor tries to understand the intense medieval devotion to the Virgin Mary and how this fuelled the anger of the Reformation that followed. Richard 'reads' a ruined church and explains how it was not Henry VIII but his boy-king successor, Edward VI, who was responsible for the greatest changes in the Reformation. He also traces how the Book of Common Prayer and the translation of the Bible into English transformed the way that the English worshipped and the appearance of their churches. 　　Part 5: Restoration and Reason 　　Church life in the 18th century is often thought to have been genteel and dull, but Richard Taylor finds that churches in this Age of Enlightenment reflect the intellectual excitement, the vigour and the potential for conflict of a turbulent time. He shows how the symbols in the everyday parish church reveal the ever-closer identification between church and state and he tries out the triple-decker pulpit at St Mary's in Whitby, and he discovers how the London churches of Christopher Wren and Nicholas Hawksmoor reflect the latest scientific insights and archaeological discoveries of the age. 　　Part 6: The Victorians and after 　　Richard Taylor discovers how, during the industrial revolution, medieval imagery and ritual make a surprise return to Victorian places of worship and plunge the Anglican Church into conflict. Richard retraces the controversy surrounding this Oxford Movement of Anglo-Catholics and explores their finest churches. He sees how the impact of war in the 20th century is reflected on imagery in our churches and how the First World War brought a return to another medieval practice - the commemoration of the dead.