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Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.

未来某星球上（大概是地球）的人类全部被机器人奴役，并为它们开采矿物，一名叫做奥林的年轻奴隶经过奇妙的启示，在“剑柄”的指引下开始反抗之旅，并在一名酷酷的赏金猎人、一名美丽的人类贵族女孩和一名性感可爱的女机器人的帮助下，最终带领人类奴隶推翻机器人残暴统治的故事。整部电影场面宏大，精彩异常，人物形象生动传神，画工一流，所展现的未来时代和太空场景让人印象深刻。

「キングコング対ゴジラ」の空前の大ヒットの夢よもう一度とばかりに企画された一編。名古屋にほど近い干拓地から突然ゴジラが出現し、名古屋市内へ乗り込み破壊の限りを尽くす。正義の怪獣モスラは日本を守るためにゴジラに闘いを挑む。ゴジラがデビュー作をしのぐ徹底した凶暴な悪役ぶりをみせ、モスラの成虫及び幼虫と死闘を演じる。この作品でゴジラの悪のイメージは終わり、以降のシリーズではモスラをしのぐ正義の怪獣として、地球の平和を乱す宇宙人や怪獣と激闘を展開することになる。“ゴジラ“シリーズの一つの転換期を示す作品。

武侠片是香港电影重要类型，尤其在五十年代末、六十年代初，平均每年近二百部粤语片中，约有四份之一是武侠片。其中，由曹达华、关海山、柠檬、高鲁泉等主演的《如来神掌》(1964年)系列更以其曲折的剧情、利落的叙事、独突的人物及朴素的特技，至今仍为人津津乐道。由于电影台多次回放，今天的少年观众亦有缘看得，可以说，《如来神掌》己是香港文化的组成部份了。《如来神掌》系列有两个版本，第一个由曹达华、于素秋主演，有五集；第二个由雪妮、曾江主演，有二集，成于六十年代末；第六、七集叫《如来神掌再显神威》，故事渊源自首五集，却发生于九十年之后，电影的类型取向也有所不同，近新派刀剑武打片而远神怪武侠片，因此意像有很大变迁。从电影拍摄、剪辑等外部技巧的角度来看，第二个版本比第一个版本优胜。但是，由现象到实质，从总体感觉来看，首五集却处处打动人心。《如来神掌》第一部上集：龙剑飞（曹达华）资质不高，学武不成，面部又被师妹毁容，更受到其夫婿欧阳豪（肖仲坤）的侮辱及谋害。后被“金眼神鵰”救回火云洞，拜“火云邪神” 古汉魂（柠檬）为义父，先后学得“如来神掌”和“七旋斩”。古汉魂六十年前曾被无定飞环孙碧玲（容玉意）暗算，两人失明。龙剑飞去取金龙之子为古汉魂治双目，孙碧玲的孙女裘玉华（于素秋）和玉娟（林凤）也来了。龙剑飞救了两人，并给她们一对龙子，自己也恢复了容貌。又得长离教主毕孤（高鲁泉）授他七旋斩。古汉魂复明，让龙剑飞送回龙子。龙剑飞再遇裘玉华和玉媚，一起救出脱离魔教的陆瑜（关海山）。孙碧玲见到龙剑飞穿着火云战衣，将他打伤，生死未卜。