『Daria，跩妹黛薇儿』是继1993年『Beavis & Butt-head瘪四与大头蛋』之后MTV力捧的另一部以年轻女孩为主角的卡通动画影集，1997年3月于美国MTV全球首播，不到一年时间Daria声名大噪，成为全纽约最跩的女高中生。 Daria这位聪明伶俐的年轻女孩，具有 相当独特的人格特质，有趣、善反讽的幽默哲学，她的机智反应总是让人出乎意料，出言不逊的勇气亦让人佩服，她是正义使者的化身，更是同学们心中的女英雄。 之后Daria的霸气更远播至欧洲各国，今年的盛夏，亚洲区的观众朋友终于有机会能ㄧ赌她的风采，『Daria跩妹黛薇儿』即将于台湾、香港、新加坡等亚洲区的MTV音乐电视频道同步呛声登场。by:m.yakubd.cc
因父亲昏迷从首尔来到哥伦布的金，巧遇当地少女凯西，两人展开城市建筑巡礼，互相倾吐焦虑与憧憬，渐渐渗透冰冷的建筑体，敞开情感的裂缝。面对居民与游客身份的易位，生死的来去，他们也如空间中的物件般，学会在新的关系中，再次挪动与重新安置自己。影像散文作者（video essayist）Kogonada的首部剧情长片，淋漓展现其镜头语言的敏锐度，如现代主义建筑般对称恒定的画面结构，窜流着低限却潜在的剧情，暗指建筑空间的本质，实为人生活与情感萌发的场域。
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山村少年平二娃初涉江湖，行侠仗义。结识了受伤失忆的剑客柳昊辰和飞贼白空空。三人来到吉祥镇，在客栈女老板花艾菲的帮助下，挫败江洋大盗“江南五鬼”的阴谋，将其绳之以法。平二娃成为吉祥镇的新捕头。
著名上市公司车间失火，瞒报重大人员伤亡；副市长充当保护伞，只手遮天意图掩盖真相；抢劫、凶杀、围攻政府接踵而至……《红线2017》改编自真实事件，以一名安监局长需要在72小时内解决3起不同类型的安全事故为主线，采用多头并进的叙事结构，层层揭开权钱交易、官场斗争的黑幕，惊心动魄，直指人心。
玩家任安然参加游戏大赛，阴差阳错成为了恶毒贵妃，在宫廷里亦步亦趋完成自己的任务同时，又触发了副线任务，和绝无门门主凤毓展开一段恋情。在得知凤毓的身世后不惜自身安危，与太后一方势力相对抗。
DICE星球资源匮乏，浑浑噩噩的首领D王派将军的小儿子艾瑞去地球收集情报，准备随时攻打地球。艾瑞降落到地球上的某个未知的小村庄，天地一线，平静如画，艾瑞遇见了农民康芒和机器驴宝迪。一次误会，宝迪把艾瑞的飞船踢坏，康芒把飞船改装成驴车，三人准备回村把飞船修好....
外地来京的女孩琳琳从小在父母不和的家庭中长大，非常渴望家庭的温暖。她与单亲家庭中长大的大壮恋爱结婚，在北京有了家。但是婚后的日子在婆婆的监视和控制下过得异常艰难。一年以后，琳琳抱着自己的儿子宝儿与婆婆相见，两个女人之间达到了最大的理解与宽容。
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 - shotscountershots, 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.