本片其实就是法国纪录片，非常平实的用西方的镜头记录中国的正史，一共4集。

第1集：革命家的诞生
第2集：建国与大跃进
第3集：文化大革命
第4集：从文革到改革开放

In 1981 film director Nagisa Oshima - the 'New Wave' Japanese director best known in this country for films such as Cruel Story of Youth (1960), In the Realm of the Senses (1976), and Merry Christmas, Mr. Lawrence (1983) - traveled to the Yamagata countryside to visit the documentary filmmaking collective led by Shinsuke Ogawa (1935-1992), who was then in the midst of filming A Japanese Village - Furuyashikimura, a feature-length documentary chronicling the seasonal cycle of rice growing.
Ogawa, who produced Summer in Narita (1968), Peasants of the Second Fortress (1971), and Red Persimmons (2004), gives Oshima a brief tour of their rural location, including the rice fields they are cultivating as well as filming, and introductions to local villagers. They then settle down for a wide-ranging conversation about Ogawa Productions' approach to documentary filmmaking - that of self-styled "film nomads" who live and work for extended periods of time in various regions of the country-focusing in particular on their current production, which involves an intimate interaction over a period of several years with local farmers, weather conditions, the environment, and aspects of village life.
A VISIT TO OGAWA PRODUCTIONS thus offers a rare insight into the social and cinematic philosophy of one of Japan's best-known documentary film collectives. As the film reveals, Ogawa Productions' in-depth portraits of Japanese society - whether of protest movements or traditional agricultural life - grew out of an unusual commitment to integrate themselves with the communities they filmed, to the extent that their filmmaking literally became an alternative lifestyle.

Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke. Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan. These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.

First major English-language documentary profile of the cult Japanese actor/director, Takeshi Kitano. Featuring interviews with many of his regular contributors and colleagues, the film explores Kitano's rise from working-class poverty to superstar of Japanese radio, TV, comedy and journalism, and follows the making of his US-Japanese gangster film, 'Brother'.

directed by Adrian Maben and published by NHK, Arte broadcasted as part of NHK Special series in 2006 - English, Japanese Multilanguage narrationalso known as Mao, Une Histoire Chinoise Mao Zedong Mou Taku-tou Mao, Eine Chinesische Geschichte

Information
The 4 films of this series are drawn from the biography written by Philip Short entitled Mao Tsé-Toung (Mao a life) published in the USA, in England, in France and even in China.
Mao Tse tung (other way of writing: Mao Zedong) belongs to the coining/shaping figures of world history. He was a military strategist, politician, visionary, philosopher and a poet at the same time; an ingenious manipulator and propagandist, who understood to connect sensuality, politics and revolution. It has, like Richard Nixon said, "moved a nation and changed the world". Mao governed China 30 years long. He was admired in the own country like a God, in the western world, he was the concept of the enemy to some and modern redeemer and revolutionary idol to those waving their "Mao Bible" in their hands. Until today the icon of Mao has not fallen in China, despite all changes even to a red capitalism. 25 years after his death, combining previously classified Chinese archived material with unseen documents, biographic studies and interviews with people having known Mao himself, a comprehensive film biography in four parts could be created.

01. Against the Tide - Mao's Early Years (1893-1945)

Part one of the series describes Mao Zedong's youth, his formative adulthood, and his consolidation of power. Archival photographs from Mao's childhood and education, film clips from his campaigns against foreign invaders and Chinese nationalists, and lavish, government-produced reconstructions of the Long March detail the drama of those decades. Film excerpts featuring Jiang Qing, the actress who became Mao's fifth wife and a feared political force, highlight the Chairman's unpredictable life choices.


02. The Sorcerer's Apprentice - Founding the Republic (1945-1959)

Part two of the series China: Through Mao's Eyes explores the formation of the People's Republic of China, its complicated relationship with the Soviet Union, and events that prefaced the Cultural Revolution. Footage documenting the turmoil of the Anti-Rightist movement, China's role in the Korean War, and the misnamed Great Leap Forward reveals Mao's uneven leadership as the young nation struggled to define itself. Interviews with close associates illuminate the Chairman's personal side, including his unusual eating habits, attire, and leisure activities.


03. Not A Dinner Party - The Cultural Revolution (1958-1969)

Part three of the series China: Through Mao's Eyes examines the origins of the Cultural Revolution, Mao's orchestration of it, the political and economic shockwaves it created, and its human cost. Rarely seen archival footage of young Red Guard operatives raiding and ransacking a home—combined with present-day interviews featuring former Red Guards and their victims—create an in-depth portrayal of the tumultuous period. One commentator links the Cultural Revolution with the entrepreneurial freedom that China's government now fosters.


04. Mao Is Not Dead (1970 and Beyond)

Part four of the series China: Through Mao's Eyes details the watershed Nixon-Mao diplomacy, Mao's death and its aftermath, and the legacy of his rule and philosophy. Scenes showing an aged and infirm Mao meeting with foreign emissaries and CPC assemblies reveal his determination to shape policy and preserve his imposing image as long as possible. Today's citizens who look back nostalgically on Mao's reign are contrasted with a young, materialistic, sexually uninhibited generation—although the program makes clear that the Chairman still inspires awe and reverence throughout Chinese society.

Inspired to write music after hearing the French song "Parlez-Moi d'Amour" during World War II, film composer Toru Takemitsu enjoyed a rich career working with many of Japanese cinema's greatest directors. Rarely interviewed filmmakers such as Hiroshi Teshigahara (Woman in the Dunes) and Masaki Kobayashi (Kaidan) expound on the varied sonic palettes Takemitsu left upon their works.

The French computer programmer Laura inherits the task of making a computer game of the Battle of Okinawa in Japan during World War 2. She searches the Internet for information on the battle, and interviews Japanese experts and witnesses. The extraordinary circumstances of the Battle of Okinawa lead Laura to reflect deeply on her own life and humanity in general, particularly the influence of history and memories.

In a long dialogue, Nagisa Oshima interviews Akira Kurosawa, leading him to share his thoughts about filmmaking, his life and works, and numerous anecdotes relating to his films and his various film activities.

故・大島渚の代表作で、今なお高い人気を誇る『戦場のメリークリスマス』。国際共同製作として作られた本作の、公開までの５年間の紆余曲折を貴重な証言や資料でたどる。
2013年1月に惜しまれつつもこの世を去った巨匠・大島渚。彼の代表作である『戦場のメリークリスマス』（’83）は、公開から30年たった今もなお、語られることの多い作品だ。デヴィッド・ボウイ、ビートたけし、坂本龍一をはじめとする異色のキャスティングや、当時は珍しかった国際共同製作といった、途方もない挑戦が成功した裏には、大島の不屈の情熱と、それに魅せられた人々の想いがあった。関係者へのインタビューや貴重な資料とともに、名作誕生の裏側と後世に残したものに迫る。

日本映画监督协会成立70周年纪念作品
映画『映画監督って何だ！』は、日本映画監督協会が創立70周年記念事業の一環として製作したものです。協会員が一丸となって製作したこの記念映画には、監督90名が俳優として出演し、さらにスタッフとして60名の監督が参加しています。まさに「監督の監督による」映画作りだったといえます。もちろん、協会員１５０名以外にも、小泉今日子、佐野史郎、石川真希、原田芳雄などの俳優陣や、撮影、美術、録音などの本業スタッフの援軍も得ています。
「映画監督」の仕事の本質は何かを改めて問うところからはじめ、＜時代劇＞あり、＜再現劇＞あり、さらには＜ドキュメント＞、＜インタビュー＞で構成されるこの映画の一貫するテーマは、＜「映画の著作権」獲得＞への宣言です。そうです。この記念映画は、１９７１年施行の現行著作権法により奪われた映画監督の著作権について、映画監督の誇りをかけて「監督は映画の著作権者である！」と宣言し、悲願の実現を目指すものです。
映画のオープニングは“設立秘話”です。１９３６年（昭和11年）２月26日未明、東京・神田の駿台荘に集まった伊丹万作、衣笠貞之助、伊藤大輔、村田実、牛原虚彦の５監督が衆議一決、日本映画監督協会の設立を決定しました。折りしもこの日は、「動乱の昭和」の予兆となった「2.26事件」の当日でした。
次に映画は一転して時代劇になります。登場するのは浪人・管徳右衛門（小栗康平監督）と元・花魁の脚本太夫（阪本順治監督）。ふたりの間に生まれた子供を悪徳大家・著作軒二十九（若松孝二監督）が用心棒を連れて奪いに来るアクション劇です。いうまでもなく、カントクとキャクホンの間に生まれた「作品」を「著作権29条」が奪っていく――この映画のテーマ、「著作権問題」のアナロジーです。
さらに著作権にかかわる話は女弁士（小泉今日子）と男弁士（成田裕介監督）によって案内されます。女弁士は“歴史探偵”となって、１９３１年（昭和６年）、日本帝国議会での著作権法改正法案説明者、内務省警保局図書課員・小林尋次氏（山本晋也監督）を訪ね、当時の「映画監督と著作権の関係」を聞きます。小林氏は「完成された映画の著作権は映画監督が原始取得するものであるが、契約に基づき、完成と同時に映画会社に移るものとして意見を統一した」が、「質問を受けなかったので答弁の機会はなかった」と応えて、無情にも冥界に去っていきます。しかしその内容は小林氏の著した「現行著作権法の立法理由と解釈」（昭和33年文部省発行）に明記されています。１９７１年施行の改正著作権法は、著作権は「著作者が映画の製作に参加することを約束しているときには、映画製作者に帰属する」と、監督の著作権をまったく認めていません。改正著作権法によって「監督の著作権が剥奪された」と主張する所以です。
そして映画は、１９６０年代の著作権制度審議会や、69年、70年の衆参両院の文教委員会での現行著作権法の審議過程を黒海議事録を基に精密に再現します。そこに登場する安達健二文化庁次官役の小水一男監督をはじめ、野党議員を演じる監督協会員諸氏の演技は全員“著作権奪還への思い”を秘めてか、迫力に満ちており、静謐な中にも次第に緊張が高まっていくその芝居は圧巻です。かつての「文士劇」をはるかに凌駕する「監督劇」となっています。
「映画監督って何だ！」という問いには、直接的には協会員20名がインタビューに応えています。その問いは、＜自らの存在自体が明らかになる多様な答え＞と現実の撮影現場での＜監督を凝視するドキュメント＞が相まって、重層的に解き明かされていきます。
さらに、五所平之助監督の『煙突の見える場所』（１９５３年度作品）の一場面を鈴木清順、林海象、本木克英の３監督がそれぞれの視点で撮影する劇中劇が加わります。映画ファン必見のシークエンスです。「同じ脚本でも監督が違えば、まったく違う場面ができる。これは監督が真の著作者であり、監督に著作権が存在する証明になる」（伊藤俊也監督）という狙いを越えて、その＜方法自体がテーマ＞と重なるこの記念映画は、結果として映画の「新しい可能性」すら期待させる作品になっています。

1968 film by Nagisa Ōshima