故事讲述晋国诸侯献公育有三子申生，重耳与夷吾。申生好医术，对继承爵位之事并不着急，而夷吾（黄子扬 饰）不及重耳（黎明 饰）贤能，不惜出毒招重耳，以求得到世子之位，重耳为免兄弟间起干戈，毅然出国游历。重耳应邀出席诸侯大会，途中邂逅秦国怀嬴公主（罗慧娟 饰），情丝互结，可惜生逢乱世，未能成眷属。 　　献公驾崩后，奸妃骊姬（刘桂芳 饰）专政，力举其子奚齐为帝，为朝中大臣所不容，引起内乱。夷吾得秦穆公之势回国称帝。 夷吾登基后，仍担心重耳争位，故出尽办法对付重耳，并下令将怀赢下嫁其太子圉，令重耳大受刺激。重耳为避免夷吾加害，逃亡至赤狄国，备受重用，娶得季隗公主（郭秀云 饰）声势日隆。重耳获悉晋国法政大乱，遂率军大举回晋主持大局，受推举为帝，为晋文公。

故事讲述晋国诸侯献公育有三子申生，重耳与夷吾。申生好医术，对继承爵位之事并不着急，而夷吾（黄子扬 饰）不及重耳（黎明 饰）贤能，不惜出毒招重耳，以求得到世子之位，重耳为免兄弟间起干戈，毅然出国游历。重耳应邀出席诸侯大会，途中邂逅秦国怀嬴公主（罗慧娟 饰），情丝互结，可惜生逢乱世，未能成眷属。 　　献公驾崩后，奸妃骊姬（刘桂芳 饰）专政，力举其子奚齐为帝，为朝中大臣所不容，引起内乱。夷吾得秦穆公之势回国称帝。 夷吾登基后，仍担心重耳争位，故出尽办法对付重耳，并下令将怀赢下嫁其太子圉，令重耳大受刺激。重耳为避免夷吾加害，逃亡至赤狄国，备受重用，娶得季隗公主（郭秀云 饰）声势日隆。重耳获悉晋国法政大乱，遂率军大举回晋主持大局，受推举为帝，为晋文公。

故事发生在如火如荼、如痴如狂的文革时期。大喇叭里传来了激昂亢进的革命歌曲，土墙上写着“横扫一切牛鬼蛇神”的革命标语。拿着弹弓的少年在村里走来走去，偶尔惹出一点小的祸端，被人马上两句也不以为意。她跳入某个寂静的院落，在布满落叶的地上发现了被火烧过的皮影道具。房间里传来一阵老人的咳嗽声，男孩偷偷张望过去，发现皮影老艺人叼着旱烟袋，一脸愁容兀自呆坐。曾经赖以为生的皮影戏在“破四旧”的浪潮中被踩在脚下，往昔的美好回忆一去不复返。男孩挑起皮影，隔着窗挑逗着老人，他向老人询问皮影的头在那里，老人却不发一言，想了想干脆给他重新画了一个。 　　在他们的心中，都有一个无法割舍的记忆……

故事发生在如火如荼、如痴如狂的文革时期。大喇叭里传来了激昂亢进的革命歌曲，土墙上写着“横扫一切牛鬼蛇神”的革命标语。拿着弹弓的少年在村里走来走去，偶尔惹出一点小的祸端，被人马上两句也不以为意。她跳入某个寂静的院落，在布满落叶的地上发现了被火烧过的皮影道具。房间里传来一阵老人的咳嗽声，男孩偷偷张望过去，发现皮影老艺人叼着旱烟袋，一脸愁容兀自呆坐。曾经赖以为生的皮影戏在“破四旧”的浪潮中被踩在脚下，往昔的美好回忆一去不复返。男孩挑起皮影，隔着窗挑逗着老人，他向老人询问皮影的头在那里，老人却不发一言，想了想干脆给他重新画了一个。 　　在他们的心中，都有一个无法割舍的记忆……

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

魏晋时期的风俗习惯及竹林七贤之间的趣事

魏晋时期的风俗习惯及竹林七贤之间的趣事

节目聚焦我国历史上第一个有同期文字记载、存续500多年的商朝，充分利用考古与历史研究新成果，解开商部落源起何处、何以灭夏建商、商王为何多次迁都、如何走向繁荣并凝聚四方等历史之谜，并通过深入解读青铜礼制和甲骨文字，揭示商文明密码，及其对中华文明发展的突出贡献与深远影响。

聚焦中国考古人60多年来关于夏的重要考古发掘和最新研究成果，实证夏王朝的真实存在、存续时间、经济发展、国家治理、社会制度和文化兴盛，揭示夏王朝形成了更为成熟的古代文明形态，并向四方辐射文化影响力；夏文化崛起是中华文明从多元走向一体的重要标志，并持续影响中国数千年。