剧情简介
2024年4月23日是第30个“世界读书日”，樱花也是我国的“全民阅读日”。山东卫视推出《阅读的力量》特别节目，樱花在山东省内的五个城市（临沂-潍坊-烟台-济宁-济南）、五个书店，多点位、多场景、多维度地升级节目模式，将目光聚焦更基层的群众，传递阅读的力量，讲好全民阅读的故事。
樱花tv网页在线看片
2024年4月23日是第30个“世界读书日”，樱花也是我国的“全民阅读日”。山东卫视推出《阅读的力量》特别节目，樱花在山东省内的五个城市（临沂-潍坊-烟台-济宁-济南）、五个书店，多点位、多场景、多维度地升级节目模式，将目光聚焦更基层的群众，传递阅读的力量，讲好全民阅读的故事。
回复 :每个人都想问，我正常吗？这是一档调查类真人秀节目，没有评委、不要专家、只有全民真心话。每期一位明星与一位普通人组成团队，8个最劲爆的问题。如果你的答案和大众一致，你就是赢家。那么，你正常吗？腾讯视频独家呈现，海量互动调查。准备好参与这出格的游戏节目了吗？4月10日起 每周四中午12：00腾讯视频原创出品，来腾讯视频看看你正常吗？
回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
韩庚
回复 : 这是一部以"数码纸芝居"形式制作的恐怖动画，将用昭和风格的纸芝居艺术来讲述各种都市怪谈，为你的夏夜增添别样回忆。所谓纸芝居（连环画剧，幻灯片剧）是一种一边给小孩子看幻灯片一边讲故事的表演形式，在电视机未普及的昭和初期在日本得到广泛发展。“数码纸芝居”顾名思义即是将这种传统艺术搬到电视中的一种尝试。
