《生命》是由BBC制作的十集系列纪录片,从2009年10月12日开始在BBC电视台播出。本片制作共耗时四年,全部以高清方式摄制。每集50分钟,外加10分钟的拍摄花絮,总共60分钟。根据《泰晤士报》报道,本系列片耗资一千万英镑,不过BBC官方并未证实这一数字。2009年是达尔文诞辰二百周年,也是《物种起源》发表150周年。为了进行纪念,本片力图展现自然界缤纷物种的多样性,和它们为适应环境而进化出的各种神奇生存本领。
《常驻虎鲸》讲述了一头被圈养的鲸鱼为生存和自由而战的令人震惊的真实故事。数十年来,人们一直试图将她带回家,但都以失败告终。在原住民女族长、一位亿万富翁慈善家、虎鲸专家以及水族馆的新主人之间,一支看似不太可能的团队,共同承担了一项艰巨的任务:将53年前被捕获的洛丽塔解救出来。然而,洛丽塔的余生却只能在北美最小的虎鲸水族箱里度过。当洛丽塔在困境中病倒时,她的支持者们面临着一个痛苦的问题:现在拯救她还来得及吗?这部由首次执导长篇纪录片的导演莎拉·夏基·皮尔斯和西蒙·施耐德,以及执行制片人、来自卢米族的Squil-le-he-le(雷内尔·莫里斯饰)和Tah-Mahs(艾莉·金利饰)共同创作的影片,通过一头被圈养的鲸鱼以及人们试图将她送回野生家庭的努力,探讨了我们与自然世界的关系。导演莎拉·夏基·皮尔斯 (Sarah Sharkey Pearce) 和西蒙·施耐德 (Simon Schneider) 将与特邀嘉宾一同出席。
死亡海岸是北大西洋一片波涛汹涌的海域,几个世纪以来,已有六千多艘船只沉没于此。许多水手勇敢地踏上这片水域——有的是为了贸易,有的是为了战争,还有的是为了掠夺。如今,沉船上的黄金和珍贵文物散落在海底,但过去十年来,这里一直禁止打捞。如今,经过长期的努力,沉船搜寻者杰夫·麦金农赢得了独家潜水权。他和他的团队只有12周的时间来搜寻沉船,否则,汹涌的死亡海岸海水将使潜水变得不可能。
这部系列纪录片将对在公海上捕鱼的拖网渔船进行跟踪拍摄。拖网渔船的船长为了满载而归,并让自己和船员赚取更高的收入会进行各种疯狂的海上冒险。我们的摄制组将登上这些拖网渔船,对他们在公海上的捕鱼过程进行跟踪记录。这些精彩的故事发生在近80平方公里的海面上,每集节目都会讲述这些拖网渔船在大西洋和英吉利海峡等海域经历的漫长而艰难的一周,通过不同拖网渔船的场景切换,我们可以看到它们遭遇的不同命运。每条拖网渔船一次出海只有7天时间来追逐鱼群,并实现自己的财务目标。阿德尼亚号试图为挪威的一位买家捕到1000吨鲭鱼,并赚取100万英镑,而海洋骄子号必须在沉船周围撒网才能有所收获。每艘拖网渔船都面临着各自的挑战,包括生疏的新船员、猛烈的风暴和其他船只的竞争。
An epic adventure into the unknown. Simon Reeve's toughest journey yet - into the heart of Earth's last great wild areas, where nature is at its most beautiful and fragile.
It showcases the story behind the first Black Barbie. It started with the filmmaker's 83-year old aunt, Beulah Mae Mitchell and a seemingly simple question: "why not make a Barbie that looks like me?"
在这个瞬息万变的环境中,每个掠夺者都必须克服新的挑战,抓住新的机遇。对于加拿大的北极熊、津巴布韦的野狗、智利的美洲狮、博茨瓦纳的狮子和坦桑尼亚的猎豹来说,这是终极的权力斗争。赌注从未如此之大——谁会赢,谁会输? 我们跟随这五位顶级掠食者在生命的关键时刻的故事,他们试图确保下一代的未来。这些人是致命的猎人、充满爱心的父母和狡猾的幸存者,他们在求生的过程中掌握着秘密和惊心动魄的故事,要应对多重责任。 最先进的摄像机技术将把观众带到世界各地令人惊叹的地点,以亲密的细节揭示掠食者的生活,让观众沉浸在他们复杂的世界中。一群配角动物角色,分享这些掠食者的王国,随着他们周围的世界的变化,他们的关系和权力斗争也发生了巨大的变化,紧张气氛也随之加剧。
皇帝一人食几十道菜,剩菜都去哪儿了?有人因此走向致富之路
《如果国宝会说话》共100集,分为四季播出,第一季于2018年1月1日在中央广播电视总台纪录频道首播。纪录片没有渲染猎奇和神秘的曲折表述,也避免了高冷的学术性叙事。《如果国宝会说话》第三季会进入到魏晋南北朝隋唐时期。二十五件文明的物证,继续构建中华文明视频索引。我们带着不断更新的历史好奇心,从魏晋南北朝走入盛唐。
经过四十亿年的漫长演变,地球变成一个物种繁多、资源丰富、奇特美丽的蓝色星球。然而自人类出现以来,我们只用了二十万年的时间,便将地球的宝贵资源消耗殆尽。珍稀物种灭绝,原始资源奇缺,污染日益严重,人类以及地球的明天将何去何从? 导演扬恩•亚瑟经过15年的筹备,历访50多个国家拍成此片。本片素材长达488小时,拍摄周期为21个月,共动用88,000名员工,从澳洲海底的大堡礁到非洲肯亚高原的乞力马扎罗山;从亚玛逊热带雨林到戈壁沙漠;从美国德萨斯州连绵不断的棉花田到中国上海、深圳的工业城镇。影片以上帝的俯瞰视角向世人展现地球的绝美以及日趋危急的现状。明天并不遥远,但我们该选择怎样的未来?
从古代凌迟处死、绞刑、分尸等死刑,到现代科学时代的注射死刑,我们提出一个问题:最可怕的罪行是否应该受到最可怕的惩罚?
《一念》纪录一位医生从临床医疗执行,到对于生命因有更深层的体悟而撰书甚至到处演讲推广。影片以正值青春年华但身体却因伤瘫痪的病人,虽意识清楚能说话,无知无觉的身躯使其没有活下去的动力。以及儿女面对父母生重病,在医护过程放手与不舍之间的天人交战导演陈志汉表示:“生死一向是生命重要课题,我关注无效医疗的议题,以及人的思维和喜怒哀乐,我觉得是有助于此议题寻求解决及讨论的借镜。”相信看了本片的人都可以找到一些出口及方法。
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.