捕鱼生死斗第一季
5.0 |2025年06月26日 |已完结
简介:

  捕鱼是一项辛苦的工作,而捕蓝鳍金枪鱼则让人精疲力尽,在马萨诸塞州的格洛斯特,有一群特殊的渔夫,他们世代用钓竿和鱼线捕捉行踪不定的蓝鳍金枪鱼。他们以此谋生,蓝鳍金枪鱼数量稀少、价格高昂,是日本寿司的最高级食材,因此这行竞争异常激烈。每年的捕鱼季持续近10周,这些最老练的渔夫将漂泊在北大西洋冰冷的海上寻找”海中钻石“蓝鳍金枪鱼。有人捕到过价值20000美金的大鱼。
  节目涉及到的主要捕鱼地点:
  乔治浅滩:位于大西洋美洲大陆架边缘,从美国科德角延伸至新斯科舍省。水深50米~80米,但有的地方不到10米。浮游生物特别多,渔业资源非常丰富,正常情况下每年能捕42万吨鱼。但最近几十年来,一些国家的远洋捕鱼船在这一带滥捕,渔业资源遭到严重破坏。1984年,海牙国际法庭裁决,乔治浅滩的5/6归美国,其余的归加拿大。

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暗流涌动——中国新疆反恐挑战
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更新时间:2024年01月11日
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简介:

  继《中国新疆·反恐前沿》《幕后黑手——“东伊运”与新疆暴恐》《巍巍天山——中国新疆反恐记忆》之后,第四部涉疆反恐纪录片《暗流涌动——中国新疆反恐挑战》即将于近日推出。相比于前三部,本部纪录片将集中披露此前不为外界所知的反恐斗争案例,例如首次揭露新疆“两面人”个案事实,首次公布新疆少数民族语问题教材事件,以及首次介绍“东伊运”向中国境内传播暴恐音视频情况。中国现代国际关系研究院研究员、反恐问题专家李伟在接受《环球时报》采访时表示,中国新疆在打击“两面人”,挖出“毒教材”后,反恐与去极端化的工作才得以更加顺利展开,这是最大限度的保护民众的生命权。
  第四部纪录片片长约56分钟,同前三部一样采用英文配音、中英双语字幕形式,并与前三部纪录片前后呼应。值得注意的是,西方长期以来针对中国新疆反恐去极端化措施的污蔑充斥着“反恐过度”“侵犯人权”“同化少数民族”等论述,而纪录片中“两面人”案例及“新疆少数民族问题教材”事件此前很少被媒体触及,此次公开披露在更深层次上彰显了反恐去极端化工作的正当性和必要性,对西方反华势力的上述污蔑无疑是一个有力的回击。

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  What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of
a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.

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