For over 50 years, Hayao Miyazaki has been enchanting the world with his films. Tonari no Totoro (My Neighbor Totoro), Mononoke-hime (Princess Mononoke), Sen to Chihiro no kamikakushi (Spirited Away), or his latest film Kimitachi wa dō ikiru ka (The Boy and the Heron), to name only a few of eleven feature films, ten short films, several manga, and also through Studio Ghibli, a museum and a theme park. They form a luminous body of work and characters that have become cult classics. Miyazaki’s films, often autobiographical, also reflect the state of the world and the turmoil of the twentieth and twenty-first centuries, made of wars and ecological disasters. He was born in Japan in 1941, during World War II. As a child, he immersed himself in drawing manga until he had a revelation upon discovering Hakuja den (The White Snake Enchantress), the first Japanese colour animated film by Taiji Yabushita. From then on, he decided to devote his life to animation, this magical art capable of overcoming the darkness that had always deeply inhabited him... Thanks to exceptional access granted by Studio Ghibli to numerous film excerpts and rare Japanese television archives, we discover the life of Miyazaki as well as a profoundly ecological body of work that questions our relationship with the natural world and living beings. Thinkers like anthropologist Philippe Descola or philosopher Timothy Morton, as well as close associates, his son and film director Gorō Miyazaki, and Toshio Suzuki, his longtime producer and friend, bring us closer to this tireless, obsessive, and mysterious artist.

一部引人注目的全新史詩(shī)紀(jì)錄片，聚焦 1982 年的流行文化里程碑，包括那一年的著名電影、電視、音樂(lè)和視頻游戲。

暫無(wú)簡(jiǎn)介

《物種起源》探索了當(dāng)代機(jī)器人研發(fā)的世界，重點(diǎn)關(guān)注人機(jī)關(guān)系、性別以及這項(xiàng)研究的倫理影響。影片深入探討了日本和美國(guó)尖端實(shí)驗(yàn)室的內(nèi)部情況，科學(xué)家們?cè)谀抢飮L試讓機(jī)器人能夠移動(dòng)、說(shuō)話，甚至看起來(lái)像人類。影片將這些科學(xué)家及其發(fā)現(xiàn)與電影和流行文化聯(lián)系起來(lái)，強(qiáng)調(diào)了我們渴望創(chuàng)造與自身驚人相似的機(jī)器這一愿望中，蘊(yùn)含的神話、喜劇和神秘色彩。

大海是眾多遠(yuǎn)古生物的搖籃，小小昆蟲率先離開(kāi)海洋大舉登陸。從海灘到沼澤，從潮濕的森林到干燥的沙漠，它們的足跡遍布大陸的每一個(gè)角落。它們?cè)诤虾突▍仓邢嘤H相愛(ài)，在森林和草地上棲息繁衍

　　古埃及讓人感到神秘，有關(guān)它的傳說(shuō)讓人浮想聯(lián)翩?？脊艑W(xué)家一直借助最新的考古發(fā)現(xiàn)和新技術(shù)去了解這個(gè)古代的文明。本片揭秘了10個(gè)最新的埃及考古發(fā)現(xiàn)，這些發(fā)現(xiàn)讓我們有機(jī)會(huì)更加直觀的認(rèn)識(shí)埃及的歷史，了解生活在那個(gè)時(shí)代的人與事。

從前，有一位健身教練、一位學(xué)生、一位單親媽媽和一位塔斯馬尼亞人。四個(gè)平凡的年輕人，過(guò)著平凡的生活。但一個(gè)瞬間改變了一切：他們愛(ài)上了一位王室成員。這段愛(ài)情故事讓丹尼爾王子、瑪麗王后、梅特-瑪麗王儲(chǔ)妃和凱特王妃放棄了他們過(guò)去的生活。資產(chǎn)階級(jí)究竟是王室的清流，還是對(duì)君主制的威脅？

《惡作劇的藝術(shù)》是一段感人至深、妙趣橫生的旅程，講述了媒體惡作劇教父喬伊·斯卡格斯如何一步步演變，最終完成職業(yè)生涯中最具挑戰(zhàn)性的惡作劇。影片穿插著他早期精彩的檔案片段，所有片段均由著名記者當(dāng)真報(bào)道。由此展開(kāi)的曲折情節(jié)，為讀者展現(xiàn)喬伊作為藝術(shù)家、活動(dòng)家和社會(huì)諷刺作家的創(chuàng)作歷程提供了前所未有的視角。

《西藏微紀(jì)錄》新媒體系列短片共30集，每集4-6分鐘?！段鞑匚⒓o(jì)錄》帶您走入西藏農(nóng)牧區(qū)、城鎮(zhèn)，與您分享今日西藏百姓生產(chǎn)勞動(dòng)、生活休閑的快樂(lè)，展現(xiàn)雪域高原迷人風(fēng)光和魅力文化。今日西藏正張開(kāi)雙臂迎接八方來(lái)客。

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