James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
探讨千年之交日本恐怖电影的起源，这些电影以复仇鬼魂通过现代科技显现为主题，背景则是都市的疏离与社会的衰败。
历代科学家都在被“宇宙中的万物到底从何而来”和“宇宙是如何诞生的”的这两大难题所困扰。近一百年，我们似乎找到了答案：宇宙是在过去有限的时间之前，由一个密度极大且温度极高的太初状态演变而来的，并经过不断的膨胀与繁衍到达今天的状态。由此宇宙大爆炸一说，得到了当今科学研究和观测最广泛且最精确的支持。 然而这一等同于科学事实的理论，却遭到一些科学家的质疑。他们相信大爆炸并不是宇宙真正的开始，我们的宇宙在此之前就可能有过生命迹象。这个可能会严重影响、甚至颠覆当今宇宙学支柱的理论，到底成立与否？就让我们共赴此次未知的极限之旅，去探索这个令人眼花缭乱的深奥谜团——宇宙大爆炸之前，到底发生了什么。
这系列节目并非以学校教学的方式讲解数学，而是将其展现为存在于我们文化、思维和日常生活中的、神秘的人类心灵构造！引领我们去探索新的领域、了解令人兴奋的故事和认识伟大的数学家。
大鳄鱼在看着我ddd。跟随我们的船，学习我们的动作。他们聪明、饥饿、体型庞大。他们能有多大？是什么让他们尝到了人肉的味道？谁是世界上最致命的鳄鱼？通过鳄鱼袭击故事，我们探索了世界各地鳄鱼物种的最新行为和状态。
在高速發展的中國，像蘇這樣的流浪者的生存空間已經越來越小。在杭州一條正在建設的二十四號大街旁邊，蘇和情人琴開設了一家簡陋的餐館，但因為沒有經營許可證，他們和其他一些非法住戶總是受到政府的驅趕，處世不驚的蘇和琴在另外的地方又建立起一個自己的餐館，但不久又被政府拆除。蘇決定回到故鄉，那裡有著他曾經的家庭和兒女，同時也有著琴的家人。但是已經在外闖蕩了30多年的蘇，家人對他的到來並不歡迎。導演通常默默地觀察蘇和琴的歷險，但偶爾也會介入，當蘇開始有不道德的行為欺騙他人時0.24號大街有著豐富多彩的主人公，影片展現了現代化進程中中國的轉折，和那些追趕不上這個國家飛速發展腳步小人物的故事。 China doesn’t have a lot of room anymore for peddlers like Su. He set up a ramshackle restaurant next to a construction site on 24th street in Hangzhou, but of course he neglected to obtain a permit. Unsurprisingly, the authorities send him and the other illegal dwellers away. Unfazed, Su and his girlfriend Qin find another place for their restaurant, only to be sent away again. Su then decides to go back home to the countryside, where his wife and children, along with Qin’s family, still live. After being away for 30 years, the couple isn't exactly welcomed back with open arms. Filmmaker Zhiqi Pan usually observes Su and Qin’s adventures without comment, but does step in on occasion, such as when the unscrupulous Su is trying to cheat people. With its colorful main character, 24th Street offers an original twist to the story of modernizing China—and those on the fringe who can’t keep up.
