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时代少年团,武艺,付辛博,杨超越,黄明昊,张含韵,柯洁,周柯宇,王瑞欣,蒲熠星,刘忻
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宣萱,陈展鹏,陈炜,刘佩玥,钟镇涛,汤镇业,马国明,萧正楠,吴若希,张颕康,蒋家旻,陈桢怡,冯皓扬,黄庭锋,康华,谢雪心,吴岱融,林景程,叶泓声,杜燕歌,黎燕珊,乐嘉珈
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杜海涛,哈妮克孜,马伯骞,钱庄,徐明浩,言承旭,张纯烨
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童瑶,丞磊,刘奕君,林允,王鹤润,杨玏,宁理,王媛可,侯岩松,郑中玉
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钱文青,杨天翔,杨默,歪歪,谷江山,乔诗语,佟心竹
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孙怡,张予曦,管乐,孟映宏,齐思钧,小鹿,李松蔚
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唐国强,关晓彤,宋亚轩,沙溢,杨迪,金靖,于洋,彭昱畅,沈涛,沈腾,杨幂,欧豪,张天阳,蓝盈莹,张海宇,贾冰,李梦,李乃文,冯满,小沈阳,马嘉祺,丁程鑫,刘耀文,张真源,严浩翔,贺峻霖,黄渤,范丞丞,常远,李嘉琦,付航,闫妮,黄晓明,张予曦,徐明浩
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许凯,田曦薇,王佳怡,吴俊霆,易大千,范诗然,单敬尧,
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大鹏,郭麒麟,杨天真,庞博,付航,小鹿,侯佩岑,嘻哈,王越,林简七,夏夏,小北,小海,小佳,谢谢,徐指导,杨蒙恩,璎宁,于渤,于祥宇,月明,翟佳宁,张踩铃,真勇,朱大强,房主任,谷雨,黑灯,黄总,贾得玉,李酌妍,良言,黄一瑾,刘旸,门腔,南瓜,诺拉,漆漆,史妍,尚筱菊,王九龙,宋万博,唐香玉,刘仁铖,甜甜,王鑫博,庞颖,叔叔和我,阿水,敦儿,段小川,大老王,东晓,陈艾,陈鸣飞,二维马
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陈豪,张曦雯,郑子诚,江欣燕,丁子朗,冯皓扬,谭凯琪,刘佩玥,陈嘉辉,黎燕珊,郭柏妍,马贯东,卢宛茵,张武孝,林映辉,程可为,林溥来,黄婧灵,林家乐,钟翠诗,陈力行,蔡伟韬,林夕童,罗皓谊,黄键丰,刘俊亨,苏丽明,冯子亮,卢映彤,叶进康
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孙红雷,李乃文,陈赫,刘宇宁,龚俊,陈星旭,王玉雯,欧阳娣娣
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刘学义,孟子义,高寒,刘令姿,边程,范静雯,赵顺然,代斯,王艺瑾,衣云鹤,王伟华,黄梦莹,张垒,漆培鑫,王佳璇,许静雅,朱戬,邵伟桐,王雅佳,闫玉晨,李芳硕
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宋祖儿,刘宇宁,孟子义,邓恩熙,任豪,师铭泽,宣璐,刘端端
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.