叛谍追击

　　马克（卡尔亨兹·伯恩 Karlheinz Böhm 饰）是一名摄影师，热爱摄影的他随身都携带着他父亲留给他的一台手持摄影机。一起连环杀人案件在城中引起了恐慌，被害者均为女性，死去时，她们的脸上布满了极为恐惧的表情，而仪表堂堂的马克，就是犯下这些可怕罪行的真凶。原来，马克的父亲是一位研究儿童恐惧的心理学家，作为他的实验对象，从小马克就被各种各样突如其来的惊吓所包围，这样长久的恐惧和压抑导致了他扭曲的性格，也成为了一切惨剧的导火索。
　　一次偶然，马克被邻居海伦（安娜·玛西 Anna Massey 饰）的美貌所吸引，正当他准备对海伦下手时却犹豫了。海伦的天真美好暂时治愈了马克的童年创伤，但时常肆虐的疯狂却又让他陷入了与天性的自我纠葛中。接连犯案的马克引起了警方的注意，而在被捕之际，绝望的马克选择了自我毁灭。

　　When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he spent his summer of 1936 with her. He meets his cousin Angelica, who was his first love, living on the first floor with her husband and daughter, and he recalls his childhood in times of the Spanish Civil War entwined with the present.

　　In the 19th century, a sadistic nobleman terrorizes the members of his family. He is found dead, but his ghost soon returns to haunt the residents of his castle.

　　Dorottya is a young Hungarian actress with a burning desire: to make it on the English stage. Legendary actor Sir Michael Gifford suffers from an incurable disease, and has one desire: be left alone. When Dorottya becomes his carer they both hope their wish will be fulfilled.

　　谢利亚，一个单身母亲，有时是超自然调查员，被征召去调查在东田纳西州一个寡妇的农舍里可能"闹鬼"的问题。

　　1900年北京，慈禧太后当权、中国领土四分五裂。端亲王力主出兵，并派义和团围困外国使馆，当千军万马兵临城下之际，美国军官义无反顾，率领各国联军作困兽之斗，终于扭转命运，杀出重围。

　　When William Gridley arrives from the US in London, he rents part of Carly Hardwicke&♯39;s house from her and promptly begins to fall in love. Gridley doesn&♯39;t know that many people think she killed her husband but his boss, the American ambassador, knows and doesn&♯39;t take this "lapse of judgement" lightly. Since Carly is also American, Gridley saves his job by introducing her to the ambassador, who is promptly smitten and promises to help her. So when a Scotland Yard detective arrives, wanting to get to the truth one way or another, they say they&♯39;ll help him. And then the comedic complications really begin.

2 To 1 Taste

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

　　亚洲是世界上野生动物最具多样性的大陆，这里生活着大量最具代表性的野生动物：喜马拉雅山麓猎食的雪豹，热带丛林深入跳跃的猿猴，戈壁沙漠奔腾的野马……本系列以HD高画质展现前所未见的细节，详细介绍了亚洲广大区域上形形色色的野生动物和变化多样的生存环境。

　　故事讲述看似平凡却珍藏着撼动一切记忆的各自以不同面貌生活的三姐妹的故事

　　19世纪的英国，阶级隔阂还十分分明。这天，英国上层出身的露西（海伦娜•邦汉•卡特 Helena Bonham Carter 饰）和表姐夏洛特一起佛罗伦撒度假，不巧，露西住的酒店的房间看不到风景。同时来住店的英国父子两乔治（朱利安•桑兹 Julian Sands 饰）和他父亲见状，热心的父亲要和露西换一间房，因为他的房里能看到风景。露西开始不同意，在好心的店主的劝说下最终她同意了。
　　乔治和露西很快堕入了爱河，然而下等阶层出身的乔治身上有着很多露西看不惯的“陋习”，夏洛特也不甚喜欢乔治，双方在交往中闹了不少“笑话”。一次，乔治“越轨”吻了露西一下，露西认为乔治太过“不合礼仪”，于是独自回了英国。
　　乔治很快也回了国，然而，这时露西已经订了婚……