Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

Though James Williamson had already made at least 122 one-shot films since 1897 (mostly comedies such as Washing the Sweep or actualities like Early Fashions on Brighton Pier, both 1898, Attack on a China Mission - Bluejackets to the Rescue (1900) was a quantum leap forward in style, content, technique and ambition. 　　In The Beginnings of the Cinema in England, historian John Barnes claims it had "the most fully developed narrative of any film made in England up to that time". While most dramatic films of the era consisted of one or two shots and single-figure casts, Williamson's film had four shots (including a reverse angle cut, showing the entrance to the mission from two different perspectives) and at least two dozen performers. 　　It was based on the Boxer Rebellion of the early months of 1900, with the secret 'Boxer' society attempting to expel of foreigners in general and Christian missionaries in particular from their native China. Williamson was following in the footsteps of Georges Méliès, whose eleven-scene dramatised documentary L'Affaire Dreyfus (1899) was very influential on British film-makers, many of whom made similar dramatisations of the events of the ongoing Boer War. But Williamson's film comfortably outstripped them in scale and ambition. 　　Though the Warwick Trading Company had distributed moving images of China that same year, there was no actual footage of the Boxer Rebellion. In order to meet perceived public demand, Williamson made his film in Hove at a derelict house called Ivy Lodge (which would also be the main location for Fire!, 1901). He went to considerable lengths to ensure that his film appeared to be authentic, kitting out the house with a bilingual Anglo-Chinese 'Mission Station' sign and drawing on his background as a chemist in order to fake gunshots and explosions. 　　The full film ran 230 feet, or roughly four minutes at contemporary projection speeds. Just under half of this footage survives, though thankfully it includes material from all four shots. Despite some obvious trims (the initial forcing of the gate is missing, and the wife's appeal on the balcony to the sailors must surely have lasted more than one second), enough remains to give a good account of what the original audience must have seen. 　　The premiere was held on 17 November 1900 at Hove Town Hall, and was such a success that the audience (fruitlessly) demanded a repeat screening there and then.

五人长老会是一部喜剧剧情片，介绍了工程院毕业生阿比舍克的故事，阿比舍克因缺乏更好的工作而前往北方邦的一个偏远村庄担任五人长老会的办公室秘书。

由智美中国倾力打造的文化思潮类节目《中国·潮》是一档汇集当代最先进思想文化潮流的谈话性节目，其主要围绕社会热点话题、潮流生活方式，追根溯源、深入探讨。节目主持人国际主持人朱力安担纲，操着一口流利中文的老外将会和节目产生怎样的化学反应，会带来怎样的中西文化与角度的交流与碰撞，更是引人期待。

由智美中国倾力打造的文化思潮类节目《中国·潮》是一档汇集当代最先进思想文化潮流的谈话性节目，其主要围绕社会热点话题、潮流生活方式，追根溯源、深入探讨。节目主持人国际主持人朱力安担纲，操着一口流利中文的老外将会和节目产生怎样的化学反应，会带来怎样的中西文化与角度的交流与碰撞，更是引人期待。

威廉-亨利-端纳，澳大利亚记者出身。1903年到香港任《德臣报》编辑，从此与中国结 ... 的顾问，经历了从清朝覆灭、民国建立、直到抗日胜利长达40年的民国发展史，是西安事变的斡旋者，其堪称是民国史上重大政治事件的历史见证人。

威廉-亨利-端纳，澳大利亚记者出身。1903年到香港任《德臣报》编辑，从此与中国结 ... 的顾问，经历了从清朝覆灭、民国建立、直到抗日胜利长达40年的民国发展史，是西安事变的斡旋者，其堪称是民国史上重大政治事件的历史见证人。

《阿惠》根据作者钟一夫 最早发表于1986年第9期《文汇月刊》的报告文学《归去……来兮》改编，写一个发生在弥勒山区的真实故事，一个叫五十岚美惠子（后改名为伍惠珍）的日本妇女，战争中从东北流落到弥勒县钟山下的小山村，在这个偏僻的小山村里同她的中国丈夫生儿育女、辛勤耕耘，度过了三十七个春秋，当她几经周折，终于找到四十年前失散的亲人并回日本探亲一年多以后，又依然带着两个女儿回到那个曾经饱尝人间苦、辣、酸、甜的中国普通农民家里。 　　耐安：亚太华语电视节“最佳女主角”《阿惠》

《阿惠》根据作者钟一夫 最早发表于1986年第9期《文汇月刊》的报告文学《归去……来兮》改编，写一个发生在弥勒山区的真实故事，一个叫五十岚美惠子（后改名为伍惠珍）的日本妇女，战争中从东北流落到弥勒县钟山下的小山村，在这个偏僻的小山村里同她的中国丈夫生儿育女、辛勤耕耘，度过了三十七个春秋，当她几经周折，终于找到四十年前失散的亲人并回日本探亲一年多以后，又依然带着两个女儿回到那个曾经饱尝人间苦、辣、酸、甜的中国普通农民家里。 　　耐安：亚太华语电视节“最佳女主角”《阿惠》

两个在学校不受欢迎的女孩，成为校园霸凌的受害者，将彼此推向深渊。