清朝晚期，乱世之秋，老北京的戏园子却仍是一派繁荣景象。新出科的谭鑫培拒绝了父亲为其规划的平稳未来，毅然投入到竞争异常惨烈的京城菊坛。梨园这一行，虽然是靠本事吃饭，但相互猜忌、勾心斗角的事儿也不少，谭鑫培少年英才，也难逃被人设局陷害的怪圈。因着一杯关涉伶人尊严的酒，致使谭鑫培父子被赶出广和成，在京城梨园行声名狼藉。命运的巨变，驱使谭鑫培和其他人有了交集：大老板程长庚工文武老生，艺术精湛，备受推崇，谭鑫培视其为人生偶像，但受多方因素影响，程长庚认定谭鑫培不能唱老生。在他经历了走粥班，战胜倒仓后，谭鑫培终于对老生这一行当有所悟，却因天生嗓音条件所限，被程长庚称之为“亡国之音”，谭鑫培倍受打击。知己张秀卿的出现，再次唤起了谭鑫培的斗志，终于找到表达自我的方式，谭派老生由此诞生。进入清廷成为内廷供奉，开启了谭鑫培艺术人生最为辉煌也最为凶险的篇章。在与晚清权贵的斗智斗勇过程中，他既要保护亲情友谊，又要维护内心的美好，同时与自身的怯懦、自私相抗衡。时代的苦难与内心的痛苦相互激荡，把他推上事业辉煌的顶峰，“时代之音”在舌尖灿烂绽放。在这一时期，面对重商轻义的人际关系、浮夸的舞台表演，经历了又一轮迷惘与消沉之后，他重新登上舞台，秉承着传统价值观的核心思想——忠孝礼义，开始了新一轮的个人战争，而晚清政权，也在此时走向了风雨飘零的末日……

清朝晚期，乱世之秋，老北京的戏园子却仍是一派繁荣景象。新出科的谭鑫培拒绝了父亲为其规划的平稳未来，毅然投入到竞争异常惨烈的京城菊坛。梨园这一行，虽然是靠本事吃饭，但相互猜忌、勾心斗角的事儿也不少，谭鑫培少年英才，也难逃被人设局陷害的怪圈。因着一杯关涉伶人尊严的酒，致使谭鑫培父子被赶出广和成，在京城梨园行声名狼藉。命运的巨变，驱使谭鑫培和其他人有了交集：大老板程长庚工文武老生，艺术精湛，备受推崇，谭鑫培视其为人生偶像，但受多方因素影响，程长庚认定谭鑫培不能唱老生。在他经历了走粥班，战胜倒仓后，谭鑫培终于对老生这一行当有所悟，却因天生嗓音条件所限，被程长庚称之为“亡国之音”，谭鑫培倍受打击。知己张秀卿的出现，再次唤起了谭鑫培的斗志，终于找到表达自我的方式，谭派老生由此诞生。进入清廷成为内廷供奉，开启了谭鑫培艺术人生最为辉煌也最为凶险的篇章。在与晚清权贵的斗智斗勇过程中，他既要保护亲情友谊，又要维护内心的美好，同时与自身的怯懦、自私相抗衡。时代的苦难与内心的痛苦相互激荡，把他推上事业辉煌的顶峰，“时代之音”在舌尖灿烂绽放。在这一时期，面对重商轻义的人际关系、浮夸的舞台表演，经历了又一轮迷惘与消沉之后，他重新登上舞台，秉承着传统价值观的核心思想——忠孝礼义，开始了新一轮的个人战争，而晚清政权，也在此时走向了风雨飘零的末日……

The son of a courtesan retreats into a fantasy world after being forced to end his relationship with the older woman who educated him in the ways of love.

A tacky version of the lake sequence in "Zodiac".

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

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