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盖叫天,张佑福,艾世菊,赵晓岚,刘全贵,奚玉凤,阎筱珊,李刚毅,李秋森,王福春,李俊华,马世哨,阎少泉,孙跃敏
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滨边美波,北村匠海,福本莉子,赤楚卫二
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李泰兰,崔贞媛,申智秀,高周元,朴海镇,朴仁焕,金海淑,李昇基
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艾伦·卡明,博亚娜·诺瓦科维奇,丹尼尔·英格斯,迈克尔·B·希尔维,莎朗·莉尔,纳威恩·安德利维斯,丹尼·马斯特罗吉奥尔吉奥,斯蒂芬·里德尔,亚历桑德罗·埃尔南德斯,乌比·戈德堡,约翰·麦尼尔利,杰·克拉茨,安德鲁·波尔克,萨莉塔·乔德霍里,吉纳维芙·安吉森,萨顿·福斯特,皮特·赫尔曼,格斯·伯尼,特雷西·齐默,伊萨赫·德·班克尔,希罗·弗南德兹,比尔·赫克,妮基·米歇尔·詹姆斯,J.C.麦肯泽,泰伦斯·曼,玛丽路易丝·贝克,大卫·A·格雷戈里,朱迪思·爱薇,戴金·马修斯,詹姆斯·塞托,阿什利·威廉姆斯,
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已完结
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全26集
内详
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迈克尔·J·福克斯,克里斯托弗·洛伊德,玛丽·斯汀伯根,托马斯·F·威尔森,莉·汤普森,伊丽莎白·苏,马特·克拉克,理查德·戴萨特,Pat Buttram,小哈里·凯瑞,德博泰勒,詹姆斯·托根,马克·麦克卢尔,温迪·乔·斯佩博,杰弗里·韦斯曼,Hugh Gillin,弗利
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科洛·莫瑞兹,尼克·罗宾森,朗·里维斯顿,玛姬·丝弗,亚历克斯·罗伊,玛丽亚·贝罗,麦卡·梦露,列维·施瑞博尔,扎克瑞·亚瑟,托尼·雷沃罗利,特丽莎·贝特曼
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HD国语
古天乐,张翰,曾志伟,毛舜筠,柳岩,林家栋,周秀娜,吴千语,黄百鸣,甄子丹,陈慧琳
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HD国语
孙坚,白冰,潘霜霜,常远,吉杰,张颂文
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已完结
洪雅凛,朴振宇,金正旭
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HD
丹尼尔·比苏蒂,克里斯·勃朗宁,沙恩·科费,布莱恩·考辛斯,Micah Fitzgerald,Evanne Friedmann,Damu Malik,妮可·亚历山德拉·希普利,克雷格·斯塔克,维克托·特平,卡罗琳·威廉姆斯,蔡斯·威廉逊
Alexander Kluge: The Power of Feeling
When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster.
The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public.
The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim.
I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.