The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

伴着朝霞，渐渐映出紫禁城美丽的轮廓。 　　中国波澜壮阔的历史故事，以紫禁城为舞台展开，多位皇帝端据玉座君临天下。可是这里并不是那有名的北京的紫禁城，一眺之下宛若真物实景，其实这是为拍摄电影建造的外景地。这是横店影视城——世界最大的电影拍摄基地，国内外超过 5000部作品在此拍摄。 　　影视城的地点在距离上海 260公里的浙江省东阳市。农村悠闲的风景已经巨变，绵延的农田风光摇身一变为电影产业的外景基地。 　　影视城里年轻的制作职员在不眠不休辛勤地工作，新人演员胸怀财富和名声的梦想在奋斗，这里还有已经达到人生目标实现了中国梦的超级明星。所有的人都在拼命努力向前，已抓住梦想的人和正在追赶梦想的人同处一城。

伴着朝霞，渐渐映出紫禁城美丽的轮廓。 　　中国波澜壮阔的历史故事，以紫禁城为舞台展开，多位皇帝端据玉座君临天下。可是这里并不是那有名的北京的紫禁城，一眺之下宛若真物实景，其实这是为拍摄电影建造的外景地。这是横店影视城——世界最大的电影拍摄基地，国内外超过 5000部作品在此拍摄。 　　影视城的地点在距离上海 260公里的浙江省东阳市。农村悠闲的风景已经巨变，绵延的农田风光摇身一变为电影产业的外景基地。 　　影视城里年轻的制作职员在不眠不休辛勤地工作，新人演员胸怀财富和名声的梦想在奋斗，这里还有已经达到人生目标实现了中国梦的超级明星。所有的人都在拼命努力向前，已抓住梦想的人和正在追赶梦想的人同处一城。

《影视风云》是北京电视台一档影视综艺访谈节目（原《影视风云路》），2012年形式和内容进行全新改版升级。节目以宣传推荐各频道热播电视剧及追踪国内即将上映电影为主要内容；聚焦新锐、热点影视文化现象，进行多角度、全方位、立体化的深度推荐；注重独家主题策划，内容取舍以及嘉宾选择精益求精，环节设计积极探索创新手法，成为各大影视机构深度推介作品和京城百姓了解热点影视幕后及文化内涵的重要媒体平台。

每天一个排行榜，网络内地,港台，欧美日韩等国内外热播电视剧动态；每天推荐一部好剧，精彩欣赏加新锐点评；更有淘碟指南，剧迷评点等互动环节。

《环球影视》北京电视台二套（BTV2）的一档节目，开播于1994年，几乎是一代影迷的珍贵记忆。作为国内最早的影视资讯类节目，在影碟尚不普及的上世纪90年代末，很多影迷都是通过《环球影视》来了解国外最新上映的电影的。 后因网络普及，影迷获取国外影片上映片上映和dvd市场信息的途径更为广泛便捷。因此，从2000年开始《环球影视》的影响也越来越小，节目于2007年停播。