大唐金城公主曾在梦中与吐蕃王子姜擦拉温相约结为百年之好，她满心期待能像姑姑文成公主那样成就一段圆满婚姻，为世人所传颂。然而，和亲途中暗藏致命阴谋。吐蕃准太子妃赤桑及其部族一心要置金城于死地。战乱中，金城不幸被俘，前来迎亲的姜擦拉温也落入牢笼。在狱中，金城与姜擦拉温相遇，却都不知对方就是自己苦苦追寻的有缘人。在被奴役的艰难日子里，他们顽强抗争，直至被解救。确认身份后，二人欣喜不已，偷尝禁果后金城有了身孕。但命运弄人，途中姜擦拉温被洪水卷走，生死未卜。抵达吐蕃后，金城嫁给吐蕃王赤德祖赞，他们名义上是夫妻，实则情同父女。金城公主一生致力于维护吐蕃与大唐的和平，为后世统一立下了不可磨灭的功勋。

大唐金城公主与吐蕃王子姜擦拉温在梦中相约百年之好，她很期待自己能够成就一桩像姑姑文成公主那样的圆满婚姻，被世人传颂。然而，在和亲路途中，却蕴藏着致命的阴谋。吐蕃准太子妃赤桑以及她的部族，誓要致金城于死地。战乱中金城被俘，同时远来迎亲的姜擦拉温也身陷牢笼。在狱中，金城与姜擦拉温相识，但却并不知晓对方便是自己万里迢迢来追寻的缘分。在被奴役的这段生活里，他们也做出过艰苦卓绝的斗争，直到被解救，二人才对应身份，大喜过望，偷尝禁果后金城怀孕。但命运多舛，路上姜擦拉温被洪水冲走，生死不明。入吐蕃后，金城嫁给了吐蕃王赤德祖赞，做了表面夫妻，实则是父女之情。金城公主一生致力维护与吐蕃与大唐的和平相处，为后世统一铸造了不可磨灭的功勋。

李薇为完成前夫秦蓦白保护非遗的遗愿，决心拿下“簪花奖”。在职场中，她与同窗周恬竞争激烈，周恬因嫉妒多次陷害李薇。幸得秦蓦白双胞胎哥哥秦蓦然相助，两人渐生情愫。秦蓦然坦白身份后，李薇一时无法接受，但最终原谅了他。在秦蓦然的保护下，李薇揭露了周恬的真面目，并成功获得“簪花奖”。两人走进婚姻殿堂，李薇在获奖感言中重申了保护非遗及新媒体真实性的重要性。故事展现了职场斗争、情感纠葛与正义的胜利。

这是一部讲述兰州城市历史的纪录片。 影片的故事背景从两千年前汉帝国驱逐匈奴，打通河西走廊要道开始，一直讲述到新世纪的今天，国家为振兴西部开发，部署一带一路的历史节点。 影片讲述了兰州这座城市从古至今的发展历史--从建城的契机，丝路时期的兴盛，清朝末年的工业发展，到建国初期的全国援建……从不同年代、不同身份的历史人物角度出发，刻画出一部详实，感人的历史风情画。

该片以甘肃第一个女共产党员秦仪贞和陇原第一批其他共产党员为主要生活原型，脱离真人真事的限制，通过艺术虚构，形象地再现了大革命时期轰轰烈烈的革命风潮，展现了早期共产党员靠着九死不悔的信仰，靠着为黎民百姓谋利益的初心，为了拯救苦难中的中国和苦难中的百姓，抛家舍命，上下求索，赴汤蹈火在所不辞的可歌可泣的光辉革命风采。

故事以一次科目三练习为主线。在城郊公路的练习中穿插了运猪车事故、汽车抛锚等突发事件。并最终落脚于索教练与火车司机儿子的隐晦情感联结。

故事以一次科目三练习为主线。在城郊公路的练习中穿插了运猪车事故、汽车抛锚等突发事件。并最终落脚于索教练与火车司机儿子的隐晦情感联结。

"Wicked" Lily Bishop joins a wagon train to California, led by Michael Fabian and Johnnny Trumbo, but news of the Gold Rush scatters the train. When Johnny and Michael finally arrive, Lily is rich from her saloon and storekeeper (former slaver) Pharaoh Coffin is bleeding the miners dry. But worse troubles are ahead: California is inching toward statehood, and certain people want to make it their private empire.

金城小子 　　这一次，我决定回家。 　　1980年，我17岁，离开老家金城去北京读书，然后工作至今。30年来，每逢春节我还是回金城的，每次都和几个小时候的朋友吃喝玩乐；他们仍然生活在这里，有的依然在小城里的工厂当工人，有的已经下岗。 　　金城是东北的一个小镇，以造纸厂为中心，生活着几千名工人和他们的家属以及附近的农民。1950年代的中国，工人阶级领导一切，工厂宏伟高大，几十米的烟囱浓烟滚滚，汽笛声响，上下班的工人人潮汹涌，家属们就住在附近的低矮平房里。当时的平房是成片的，北边的一片叫北宅，东边的叫东宅，南边的叫南宅，几片住宅间有农田、河沟相隔，小时侯这里是一帮伙伴调皮捣蛋的乐园。慢慢的住宅间的农田河沟被楼房填满了，慢慢的国营转制，工厂再也不热闹了，厂房几乎被新盖的楼房淹没，就象眼看着一支军队全部变成了后勤人员，前方打仗已经没有了战士。 　　城市化进程使我们坐火车看到的田野越来越少，一片一片楼房相连。我们忽然发现所有的城市都是一个样子，街上走的都是后勤人员，都是买卖人，工人阶级被淹没了，我们忽然发现我们都是城里人，我们的故乡都被楼房盘踞，我们都是没有故乡的城里人。现在，小时侯的朋友都胖了，当年，为了考上美术院校，我画过他们；30年过去了，我再一次画他们，趁着现在他们还没全部下岗。 　　我们都曾经是雇农、贫农、富农、地主，我们都曾经是无产阶级，工人阶级，工农子弟兵。 　　今天，我们向前大步走，我们将全部变成有产阶级，至少我们拥有水泥和砖头。 　　刘小东 　　2010年8月6日

Die goldene Stadt opened in late November 1942. An anti—Czech melodrama about a country girl who goes to the big or ‘golden’ city (Prague), it loosely belonged to the Heimat genre, in that the city constitutes the ‘other'. Good Germans reside in the Heimat (by definition a city is never a Heimat) and, in this case, work the farm, while in the city, live inferior and degenerate Czechs. The country girl (with a German father and Cziech mother), in defiance of her father, goes to the city to her aunt. Her male cousin, a dissolute Czech, gets her pregnant. 　　Returning home, she commits suicide, as her unhappy mother had earlier, and in the same manner, by drowning in a swamp. Drowning in a swamp was a fate meted out to wayward Germans or half-Germans, as in the 1935 film Friesennot (Friesians in Peril), re-released a year before this film under the new title Dorf im roten Sturm (Village in the Red Storm) after the invasion of the Soviet Union. 　　Die goldene Stadt was based on a play, Der Gigant (The Giant), by Richard Billinger in which there had been no ethnic difference, all members of the family being German. There had also been no unhappy ending since the girl returned to live on the farm with her illegitimate offspring. (Billinger, who came from the same part of Austria as Hitler, had been sympathetic to the Nazi cause, though his homosexuality complicated matters). 　　In this film the city—country conflict was racialized, the heroine is provided with a Czech mother. As befits Nazi misogyny, it is always the mother`s origins, not the father’s, which are tainted. Not everyone from the city, however, is bad: the engineer who comes to drain the swamps is a sympathetic character who understands rural problems. The engineer occupied a special place in Nazi thinking. Though emphasizing tradition and rejecting Weimar ‘jewish` modernity, Nazis could not oppose modern technology tout court, since it was needed to strengthen Germany’s economic and military position. This accounts for some of the ambiguities inherent in the Nazi embrace of modernity. Nevertheless, this film coincided with a series of films concerned with the exodus from farming communities. Agriculture had become even more important in wartime, and women were not expected to desert, especially when men were at the front. 　　The father, played by Eugen Klöpfer, Söderbaum’s father in Jud Süss, is a harsh character; his treatment of his daughter verging on the sadistic, not untypical of how young females are treated in Harlan films. The script underwent many changes: Goebbels interfered to ensure that the girl died at the end. At one point the father justifies his mistreatment of his daughter on the grounds that she bore a close resemblance to her unfortunate (and wayward) mother. The poor girl is a victim: the housekeeper who encouraged her to go to the city becomes engaged to her father and joins in persecuting her. After his daughter dies, her father decides to bequeath his property to the neighbouring farmer to whom she had been engaged. ‘Blood and Soil' or Blut und Boden, belonged to the völkisch ideology espoused by the Nazis; films promoting it were often referred to as ‘Blubo’ films. In such films the patriarch usually wins. In this case, however, the father’s final decision suggests that Boden (soil) has triumphed over Blut (blood), additional evidence, were that necessary, of the dispensability of females, since the farm will go to someone not blood-related. There are echoes here of the Nazi opposition to the hereditarian principle, which in this case has not targeted the aristocracy or the monarch, but a blood relative (female) who has committed Rassenschande. The farmer bequeathed his farm to the most suited person. just as the Nazis were most suited to running the state. 　　Söderbaum drowned in so many Harlan films that she earned herself the soubriquet the Reichswasserleiche (the Reich’s drowned corpse). To women the film’s message, at a time when many were not content to remain on the farm, was unmistakable: stay at home and do as father says. Given the heroine`s tainted origins, audiences should not have expected a happy end. But since Söderbaum was very popular, some may have felt she deserved better. Die goldene Stadt won a prize at the Venice Film Festival for its colour cinematography; Söderbaum also won an award for her acting. The film prize may have been for the novelty of a European colour film; the acting prize may have been an act of kindness towards the wife of the leading film director of Italy’s wartime ally. 　　from: Susan Tegel: Nazis and the Cinema (2007), pp 184-86