昨日上午，电视艺术片《大美陕西》在西部之光云中漫步平台正式开机。该片由省委宣传部和省广播电视台联合策划，被誉为《舞动陕西》的升级版，系迄今为止陕西电视史上规模最大的航拍。计划于2014年春节前后与观众见面。

昨日上午，电视艺术片《大美陕西》在西部之光云中漫步平台正式开机。该片由省委宣传部和省广播电视台联合策划，被誉为《舞动陕西》的升级版，系迄今为止陕西电视史上规模最大的航拍。计划于2014年春节前后与观众见面。

大型文化系列纪录片《陕西北路》由静安区文化发展专项资金扶持，是东方卫视中心继去年推出《愚园路》之后，再度拍摄制作的诚意精品之作，也是东方卫视中心打造的文化品牌“城市之路”系列作品。 　　人们说“一条西摩路，半部近代史”。陕西北路，原名西摩路，筑成于上个世纪初，1946年改名为陕西北路。其中，北到新闸路，南至巨鹿路，短短近千米的路段，云集了宋家老宅、荣宗敬旧居、马勒住宅、西摩会堂等20多处名人旧居、典型风格建筑、革命遗迹，是上海开埠后中西多元文化交融的代表性路段。2013年，陕西北路被评为"中国历史文化名街"。 作为上海永不拓宽的64条马路之一，作为上海仅有的三条中国历史文化名街之一，陕西北路融红色文化、海派文化、江南文化于一身。它是一条传奇家族、民族实业家的创业冒险之路，也是一条仁人志士、文人墨客的传承探索之路，还是一条不断新生的魅力老街。透过斑驳的光影，越过高深的藩篱，当我们阅读这些建筑，当我们聆听大历史的恢宏故事和个体的记忆诉说时，我们才会知道：我们上海需要什么？我们的根在哪里？我们曾经是什么样？今后应该怎么样？ 　　故事简介： 　　上集，《归去来》，通过两位老居民的生活和记忆，串联起太平花园、马勒住宅、西摩会堂的建筑故事。陕西北路是一条“海纳百川，融贯中西”的梦想之路，一条人们居住过就眷恋终生的精神归途。外国侨民给这里带来了丰富的异域风情和多国文化，普通百姓精致生活的烟火气至今仍在飘荡。 　　中集《山河故人》，上世纪10年代，陕西北路叫西摩路，这里已经一片繁华。最早在此留下建筑足迹的是英国汇丰银行的大班，之后，善于经商的犹太人、西方商业巨头开始云集于此。一次世界大战后，西摩路成了政界名流、洋商富贾汇聚的高档居民区，宋氏家族、荣宗敬家族相继搬来，这里也是“红色学府”上海大学的遗址、五卅运动的策源地之一，诸多大历史事件都能在西摩路上找到注脚，这是一条深刻影响中国近现代历史的马路。 　　下集《相传》，一个美好的街区，除了宜居的住宅之外，还应拥有一条好走好回的街道，以及大家能聚集、交流、分享的公共空间。陕西北路，有着凝聚附近居民青春记忆的百年名校——同济大学附属七一中学；有着伴随几代中国人记忆的文化品牌——六十年不断编写《辞海》的上海辞书出版社；还有着老字号商业街，汇聚了老上海人耳熟能详的百年民生品牌，是人们的味蕾记忆和时尚启蒙。静安区文化局下属的中国历史文化名街陕西北路展示咨询中心，近年来策划了一系列有创意的文艺活动，文化的注入使得陕西北路越发成为一条富有人情味、不断新生的老街。

大型文化系列纪录片《陕西北路》由静安区文化发展专项资金扶持，是东方卫视中心继去年推出《愚园路》之后，再度拍摄制作的诚意精品之作，也是东方卫视中心打造的文化品牌“城市之路”系列作品。 　　人们说“一条西摩路，半部近代史”。陕西北路，原名西摩路，筑成于上个世纪初，1946年改名为陕西北路。其中，北到新闸路，南至巨鹿路，短短近千米的路段，云集了宋家老宅、荣宗敬旧居、马勒住宅、西摩会堂等20多处名人旧居、典型风格建筑、革命遗迹，是上海开埠后中西多元文化交融的代表性路段。2013年，陕西北路被评为"中国历史文化名街"。 作为上海永不拓宽的64条马路之一，作为上海仅有的三条中国历史文化名街之一，陕西北路融红色文化、海派文化、江南文化于一身。它是一条传奇家族、民族实业家的创业冒险之路，也是一条仁人志士、文人墨客的传承探索之路，还是一条不断新生的魅力老街。透过斑驳的光影，越过高深的藩篱，当我们阅读这些建筑，当我们聆听大历史的恢宏故事和个体的记忆诉说时，我们才会知道：我们上海需要什么？我们的根在哪里？我们曾经是什么样？今后应该怎么样？ 　　故事简介： 　　上集，《归去来》，通过两位老居民的生活和记忆，串联起太平花园、马勒住宅、西摩会堂的建筑故事。陕西北路是一条“海纳百川，融贯中西”的梦想之路，一条人们居住过就眷恋终生的精神归途。外国侨民给这里带来了丰富的异域风情和多国文化，普通百姓精致生活的烟火气至今仍在飘荡。 　　中集《山河故人》，上世纪10年代，陕西北路叫西摩路，这里已经一片繁华。最早在此留下建筑足迹的是英国汇丰银行的大班，之后，善于经商的犹太人、西方商业巨头开始云集于此。一次世界大战后，西摩路成了政界名流、洋商富贾汇聚的高档居民区，宋氏家族、荣宗敬家族相继搬来，这里也是“红色学府”上海大学的遗址、五卅运动的策源地之一，诸多大历史事件都能在西摩路上找到注脚，这是一条深刻影响中国近现代历史的马路。 　　下集《相传》，一个美好的街区，除了宜居的住宅之外，还应拥有一条好走好回的街道，以及大家能聚集、交流、分享的公共空间。陕西北路，有着凝聚附近居民青春记忆的百年名校——同济大学附属七一中学；有着伴随几代中国人记忆的文化品牌——六十年不断编写《辞海》的上海辞书出版社；还有着老字号商业街，汇聚了老上海人耳熟能详的百年民生品牌，是人们的味蕾记忆和时尚启蒙。静安区文化局下属的中国历史文化名街陕西北路展示咨询中心，近年来策划了一系列有创意的文艺活动，文化的注入使得陕西北路越发成为一条富有人情味、不断新生的老街。

老梁通史——连通庙堂江湖，精通人情世故

老梁通史——连通庙堂江湖，精通人情世故

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

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