荣耀
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明天, 天气变迁的挑衅曾经高出于全部疑问之上。近来的研讨发明,停止二十一世纪末,寰球有百分之三十九的生齿将面对从后任何生物都从未阅历过的处境。 从前曾经有多少部优良的记录片解释了地球情况的剧变,并指出人类运动对地球的临时影响。「人类世:光荣与消灭」的奇特之处,在于夸大招致这种局势产生的进程,而不是纯真的陈说。 人类在各个范畴的先进进程,塑造出造诣不凡的产业化时期,并且多数为各人所乐见。但是,咱们在讲堂上学到的这两百年汗青却布满了偏颇头脑,当初应当去思考先进当面的汗青,并懂得咱们以是为的先进进程。 ══导演的话══ 有一种声响驱策咱们回想那巨大的「曾多少何时」；有一种声响贯串了整部记录片。我成心不在片中宣布任何批评。那声响不是在批评画面或汗青；恰好相反,它在倾吐汗青。 我应用了各国数据往返想战役!福特主义!边沿都会化或政治演说。我应用「美国生涯方法」（American way of life）的宣扬档案,出现反共的美国怎样宣扬资源主义跟花费主义的长处。我同时也应用专业影片,这些影片是社会学文献,是群体设想的一部门。这些影像的作者不详,内容议论着咱们跟多少个世代之前的人们。最后,我应用二十世纪上半叶的片子画面。这些片断赞助我出现画面甚少!或是不图像的时期（煤炭产业!十九世纪的采矿任务）。 档案画面的感化不在阐释,而是出现各个差别时期。不雅众将随之回溯从前的点滴,不雅赏其美学!气氛!声响!音乐跟演说。 除了这些档案数据,我还拍摄了一些古代天下的画面,赞助不雅众更切近这个故事。这些画面出当初七十亿芸芸众生中,冷静无名任务的人们。亚利桑纳州因核废物而「永远消逝」的地域!中国的煤矿工人!商业口岸及一个极为古代化却渺无火食的数据中央等等。 他们提示了不雅众在影片中的大哉问：咱们怎样走到明天这个田地！
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泽维尔·布瓦
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故事产生在七十年月末,在日内瓦湖畔座落着一个沃韦小镇。40岁的比利时小骗子Eddy一刑满开释就碰到他的友人奥斯曼。他们做了一笔买卖：奥斯曼给Eddy供给容身之所,价值是照料他的七岁女儿萨米拉,由于萨米拉的母亲抱病住院。圣诞节要到来了,让人难以忍耐的穷困让Eddy认为异常疼痛。未多少,电视新闻报道出影视明星查理·卓别林(Charlie Chaplin)逝世的新闻,以及他实在的巨额财产。Eddy开端做白天梦并闪现出一个跋扈狂的设法：假如他偷了卓别林的遗体来调换赎金会有什么效果！
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鈴木聖史
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上京したも之之波折し!高校を卒業してから足を踏み入れていなかった北海道之旭川へ帰省を果たした松野（戸次重幸）。親友が営むラーメン屋を訪ねた彼は!そこで高校時代之情人だった美樹（美波）と再见する。彼女に仕事を尋ねられた松野は!思わずクリエイターをしているとうそをつく。それがきっかけとなって同窓会之モニュメント作成を任されるが!やがてうそがバレてしまう。かえって恐れるも之がなくなった松野は!無我夢中でモニュメント作りに之めり込んでいくが……。
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杨泰
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35岁的吴谦运营一家网球馆,固然网球馆运营不良,但他对网球的酷爱一直不转变,在奇迹面对瓶颈时,加入专业网球竞赛掉掉落冠军成了支持他继承保持的独一信心；职业女性徐莹因为职场掉败多少乎要废弃网球时,打网球却成了她情感的发泄口；细雨在结业的十字路口找任务却到处受阻,打网球成了她打发专业时光的最好消遣······如许的三自我构成的战队,退职业选手钱乐的赞助下交战专业网球竞赛,经由过程团队队员之间一直的磨合,互相勉励,终极逆袭掉掉落冠军。 竞赛停止后,每自我都翻开了本人全新的一面。是网球教会了他们保持爱,尽力爱,成为克服本人的人；也经由过程网球,让他们愈加的信任本人,意识自我,每自我都找到了谁人最初的本人。
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
