中国 Chung Kuo - Cina (1972)

In 1972, during Mao Zedong's Cultural Revolution, Michelangelo Antonioni was invited by the People's Republic of China to direct a documentary about New China. Only permitted to visit certain parts of the country, the director traveled with his crew for eight weeks in Beijing, Nanjing, Suzhou, Shanghai, and Henan. The result was a three and a half hour long film, divided into three parts. Mao and his wife Jiang Qing disliked it so much that Michelangelo Antonioni was consequently charged with being anti-Chinese as well as counterrevolutionary. The movie was finally shown at Beijing's Cinema Institute 30 years later.

T
his documentary was taken in Chinese Cultural Revolution period, and is divided into three parts:

The first part contains some scenes in Beijing captured by the director, such as the famous Tiananmen Square, the Great Wall, the Forbidden City, Wangfujing, visible recess activities in primary schools arranged by the Chinese government, acupuncture production in hospital, factory workers’ family life and the status of the producers’ cooperatives, and so on.

In the second part, the director was arranged to Linxian, Henan province to visit the Hongqi Canal, collective farms and the ancient city of Suzhou and Nanjing, but he put large spaces on randomly observed Chinese expressions.

The third part is a brief observation of Shanghai by the director, from the streetscape to the birthplace of Chinese Communist Party, from new residential buildings to the Roll Lumbricus in colonial period, from teahouse to the large factory, from the Bund to the boatman on the Huangpu River. Relatively, the film reflected Shanghai people’s lives objectively.

In my eyes, this documentary is very quiet and the scenes move slowly. Instead of pleasing us and adapting to the illusions in our mind by cutting the lives, the film forced us to see life show itself slowly with its own rhythm.

Shooting conditions: Obviously, the route and the scene were designated and arranged in advance, and the freedom of the director is very limited. Under the fact of an overall false, a strong sense of reality was reflected from the film just by shooting techniques and some scenes by force and grabbing. We saw the gesture, facial expressions and manners of speaking of people in that era again. Antonioni did not meddle with the Chinese government by standing on the ideology. On the contrary, he knelt down and stared at the real life, making the real life penetrating by his film. Like Jia Zhangke, he knew how to explore the poetry of ordinary life. Those low, dark and even sneaking corners of life can become a poem because of staring, which is the Zen in hard life.

I think art and memory have the same process.

这部拍摄于中国文革时期的纪录片分为三个部分：
第一部分是导演在北京对一些场景的捕捉，有著名的天安门广场、长城、故宫、王府井，有中国政府安排的参加小学可见课间活动、医院的针灸生产、工厂的工人家庭生活、生产合作社的状况等。
第二部分是导演被安排去河南林县参观红旗渠、集体农庄、古城苏州和南京，但他却将大量的篇幅放在了随意观察的中国人的面孔上。
第三部分是导演对上海的短暂观察，从街景到中国共产党诞生地，从新建的居民楼到殖民地时期的滚地龙，从茶馆到大工厂，从外滩到黄浦江上的船户，相对客观地反映了当时上海民众的生活。
在我眼中这部纪录片的镜头很安静，移动缓慢，不是切割生活来讨好我们，来适应我们头脑里的假象，而是强迫我们去睁眼看生活，看它自己的节奏，自己慢慢的展现。
拍摄条件：很明显，路线是被指定的，场景是被安排好的，导演的自由度非常有限。只是在全盘虚假的算盘底下，仅仅靠拍摄手法和几个强拍抢拍的镜头，胶片中渗出一种强烈的真实感。我们重新看到那个时代的人们的动作，表情，说话方式。安东尼奥尼不是站在意识形态的高度指手画脚，他蹲下来，凝视，让生活自己从画面中渗透出来。和贾樟柯一样，他懂得发掘平凡生活的诗意。那些低下、灰暗、甚至委琐的人生角落，因着凝视，也能够成为诗，这是一种艰苦生活中的禅意。
我想艺术与记忆是同一个过程。

Adaptation story

Once there was a mother pig who had three little pigs. She was so poor, however, that she could no longer take care of the young pigs. So she decided to send them away。

　　It is time for you to go out into the world now. You are old enough to live on your own. Remember that hard work never hurts a pig. But I warn you, if you are lazy and get fat, than you will be too slow to run away from you know who. The hungry old wolf! The three pigs were scared and shouted. So the three little pigs left their safe home and went out into the world. They each went a different way, and they each built themselves a new home.

　　The first little pig was very nice and happy, but he was also very lazy. He didn’t like hard work. He always looked for the easy way to do things. Knowing he had to build a house for himself, the first little pig went go the market to look for supplies. When he saw a man selling straw, he said to himself, how easy it would be to build a house out of straw!

　　How much is that straw, sir? I will sell it to you for two cents, little pig. I’ll take it. So the first little pig bought the straw, and he built his house. Well, that was easy. I didn’t have to work very hard, and now I have a new house. This is great! The first little pig went inside and relaxed in his new home。

　　Now, the second little pig was a little different from the first. Because he liked to have lots of time to play, he always looked for the fastest way to do things. The second little pig also went to the market in search of supplies for his new house. When he saw a man selling sticks, he said to himself。

　　I could really build a house quickly with those sticks. Sir, how much for those sticks? I will sell them to you for three cents. Great! I’ll buy them. So the second little pig bought the sticks and started to build his house。

　　Mom said that we would have to work so hard, but this is so easy. Look how quickly I built my house with these sticks. Now I will have plenty of time to play。

　　The third little pig was very different from his brothers. He was a very hard worker. He wasn’t worried about finding the easiest way or the fastest way. He wanted things done the right way. When he went to market to buy supplies for his house, he looked for something sturdy that would last。

　　Wow! You have some really good bricks here, sir. I bet they would make a strong house. These bricks will help you build the finest house money can buy. How much for all of them? I will sell them to you for five dollars. Oh, I don’t have enough money right now. Can you wait until tomorrow? Okay, I will wait until tomorrow, but not any longer。

　　The third little pig quickly left to find work so that he could earn enough money for the bricks. He worked very hard that day. When he was finished, he had the money he needed. Early the next morning, he took his money and bought the bricks, and began building his house. It took him a long time, but he knew the bricks would make his house strong and safe。

　　When his house was finally finished, the third pig called his two brothers over to see his new home. They came and admired his work. Your house looks great. Now you have to come and play with us. Yeah! Let’s go into the forest to play. You two go on ahead. I still have some work to do. Wow, I get tired just WATCHING him work。

　　Remember, mother pig warned us not to get fat and lazy. Oh, he is so silly, he loves to work, and he never plays. So the first little pig and the second little pig went into the forest to play while the third little pig stayed home and worked. What the pigs did not know was that in that same forest there was a scary, smart and very hungry old wolf。

　　Chapter 2

　　The wolf usually ate squirrels, chickens, chipmunks, and other small animals. But today he was hungry for something different. Today he wanted a tender, delicious pig. BACON! PORK CHOPS! HAM! That’s what I want for dinner。

　　Wait! What is that I smell? Could it be a tender, delicious pig? Just then, the scary, smart and very hungry wolf saw the two little pigs playing. He was a sneaky wolf and decided to try to join in their game. Hello, little pigs. I am a friendly wolf and would like to play with you。

　　I … I… I don’t think so. Yeah, our mother warned us about you. The two little pigs stopped what they were doing and quickly ran back to their homes. The wolf followed them and came to the first little pig’s house. Little pig, little pig, let me in please. Never! No! No! No! No! No! You will never get in here! Then I will huff, and I will puff, and I will BOLW your house down!!

　　So the wolf huffed, and he puffed, and he blew the house down. The first little pig was so afraid. He ran as fast as he could to the second little pig’s house and began banging on the door. Help me! Help me! The hungry old wolf is coming after me。

　　Come inside, brother pig. We will be safe in my house. Shortly after the first little pig was safely inside, they heard a knock on the door. Little pigs, little pigs, let me in. it’s the nice wolf. Never! No! No! No! No! We will never let you in. Then I will huff, and I will puff, and I will BLOW your house down!! So the wolf huffed, and he puffed, and he blew the house down. The two little pigs were really afraid now。

　　They ran as fast as they could to the third little pig’s house, so the wolf would not eat them. Little brother! Little brother! Help us! The wolf is trying to eat us. I thought this would happen. Come into my house. Hurry! No, little brother. We should run away. The hungry old wolf will blow this house down! He isn’t going to blow MY house down. It’s made of bricks。

　　The two little pigs went inside the third little pig’s house, and moments later, they heard a knock on the door. Little pigs, little pigs, let me come in. it’s the nice wolf. Never! No! No! No! No! We will never let you in! Then I will huff, and I will puff, and I will BLOW your house down. So the wolf huffed and puffed and huffed and puffed, but he just couldn’t blow the house down! The three pigs cheered, and the wolf went home without a delicious pig in his stomach. I must have those pigs to eat. I will have to think of a new plan. I am a smart wolf, and I will just go back to their house tomorrow and trick them。

　　Chapter 3

　　The next day, he went back to the third little pig’s house with a really big, friendly smile。


　　Little pigs, you are so smart. You are much smarter than me. I am sorry I tried to hurt you. Let’s be buddies. I know a really good field with lots of carrots. Do you want to go with me? Hmmm. That sounds nice. Where is the field, and when do you want to go? The field is very close. It’s on the side of farmer jack’s barn. I will come back tomorrow at six in the morning。

　　When the wolf left, the first little pig and the second little pig turned to their brother and said. Are you crazy? He is going to eat you! He doesn’t want to eat carrots, he wants to eat you! The wolf will have to find me first. Don’t worry. Just wait and see. That night, the wolf was thinking to himself, finally, tomorrow I will be able to eat a tender, delicious pig. He fell asleep dreaming of pork chops, bacon and ham。

归途列车 Last Train Home (2009)

Every spring, China's cities are plunged into chaos as 130 million migrant workers journey to their home villages for the New Year's holiday. This mass exodus is the world's largest human migration-an epic spectacle that reveals a country tragically caught between its rural past and industrial future. Working over several years in classic verité style Chinese-Canadian filmmaker Lixin Fan (with the producers of the award-winning hit documentary Up the Yangtze) travels with one couple who have embarked on this annual trek for almost two decades. Like so many of China's rural poor, Changhua and Sugin Zhang left behind their two infant children for grueling factory jobs. Their daughter Qin-now a restless and rebellious teenager-both bitterly resents their absence and longs for her own freedom away from school, much to the utter devastation of her parents. Emotionally engaging and starkly beautiful, Last Train Home's intimate observation of one fractured family sheds light on the human cost of China's ascendance as an economic superpower.

The conflicts in “Last Train Home” are important watching focus. Either the conflict between the migrant worker before going home and the policeman, these people who maintain order or the conflict between the main characters Mr. Zhang Changhuas and their daughter after they came back home at the Spring Festival has touched the hearts of many viewers. Such conflicts in the movie are the creative approaches: dramatization which is used in documentary, and people are more and more familiar with it.

The story technique has been used in documentary for a long time. It has been used in the documentary of “Nanook of the North” made in 1922. More and more documentary filmmakers recognized that story technique is the only way to realize documentary internationalization.

When recalling the creative process of the “Last Train Home”, Fan Lixin mentioned that we may think “Spring Festival travel” as a very easy way to film. Foreigners have never seen it, and it was certainly easy to get the money. I also have had this idea, but soon I found it would be naive. As a film, the story itself is more valuable than the subject matter. ① Considering the overseas audiences, the “Last Train Home” identified the its story strategy. In order to overcome this cognitive impairment, the director chooses the family problems as the entry point cleverly. Outwardly, the “Last Train Home” tells a family’s journey to home, but in fact, it talks about the common human emotions. This is a good point of penetration.

During filming process, apart from being a good observer and recorder, the photographer also need to handle the relationships with the subject properly, so that the subject can show their true side, which is an important work for the photographer. In process of filming, the photographer spent a lot of time in establishing a good relationship with the subject in order to let the subject maintain a natural ease status in front of the camera. Photographer’s efforts ensure the film’s authenticity as much as possible.

《归途列车》展现的矛盾冲突是它的一个很重要的看点，无论是片中打工者回家之前在火车站与警察和维持秩序的人发生冲突，还是主角张昌华夫妇春节回家后与女儿的冲突，都打动了很多观众的心。影片中的这种矛盾冲突，实际上是纪录片越来越为人们所熟悉的一个创作手法：故事化。
纪录片使用故事化手法由来已久。1922年拍摄的纪录片《北方的纳努克》，采用的就是现在已为我们所熟悉的故事化手法。越来越多的纪录片制作者认识到故事化手法是纪录片国际化的必经之路。
范立欣在回忆《归途列车》创作过程时提到，大家一定都想到“春运”很讨巧，外国人没见过，一定容易拿到钱。这样的想法我也有过，但很快我发现这样想很幼稚。作为一部影片，比题材更有价值的应该是故事。①正是面向海外观众的考虑，使《归途列车》确定了故事化的策略。为了克服这样的认知障碍，编导很巧妙地从家庭问题切入。《归途列车》表面上讲一个家庭归乡的旅途，其实讲的是人类共通的情感。这是一个很好的切入点。
在拍摄中，拍摄者除了做好观察者和记录者外，一个很重要的工作是处理好与拍摄对象的关系，让拍摄对象能够呈现他们真实的一面。在拍摄的过程中，拍摄者花了大量的时间与拍摄对象建立良好关系，其目的就是让拍摄对象在镜头前保持自然自如的状态。拍摄者的努力最大限度地保证了该片的真实性。

Location and shoot

Most of the films are taken under controlled environment, such as the Sound Stage in a studio (Sound Stage); there must be some shootings that need to be taken outdoors, so they must be filmed outdoor.

When filming in the studio, the quality of the film would be greatly guaranteed. But when filming outside, we must consider many problems. For example, sound, when recording live sound there are a lot of noise and sudden sounds; light, natural light is very unstable and not easy to control; and the control of surrounding sceneries, vehicles, crowd; weather, sometimes the sudden changes in weather are difficult to forecast.

Several special shooting methods
1. Changing frame rates: when filming, the speed of the filmstrip is higher or lower than the normal rate of 24 frames per second to produce the screen effects of “slow-motion” and “fast action”. It is a common approach to shooting in present films.
2. Single frame filming: also known as sub-grid shooting. The documentary is filmed by “by-frame motor”, which drives the camera to shoot frame-by-frame to display the processes of blossom, cell division, and sunrise and so on.
3. Cinemicrography: shoot the images enlarged by optical microscope on the film by movie camera, which is widely used on the analysis and study of the microscopic world.
4. Aerial Shooting: film the scenes through shoot methods of films and televisions, etc. by aviation aircraft.
5. Underwater shooting: it is a shoot method in which camera and photographer dive underwater to film the movies.
6. Infrared shooting: in this method, infrared ray is used as light source and infrared film is used.

大部分的电影都是在可以控制的环境下拍摄，例如制片厂的摄影棚（Sound Stage）；也有必须在室外拍摄的部份，就必须出外景。
在摄影棚内拍摄，质量会得到很大的保证。但是拍摄外景时，我们就必须考虑很多问题。比如声音，在录制现场声音时会有很多噪音和突发声音；光线，自然光很不稳定所以很不好控制；周围景色，车辆、人流的控制；天气，有时天气的突然变化也是不可靠预测的。
几种特殊的摄影方法
1.变速摄影：在拍摄时使胶片的速度高于或低于正常每秒24格的速率。产生“慢动作”和“快动作”的画面效果，在现在的电影中是一种常用的摄影方法，
2.逐格摄影：也称为分格摄影。使用“逐格电动机”驱动摄影机一个画面一个画面地逐格拍摄。如要表现花开、细胞分裂、日出等。
3.显微摄影：将光学显微镜放大的影像用电影摄影机拍摄到胶片上。广泛用于微观世界的分析和研究。
4.航空摄影：用航空飞行器对景物进行电影、电视等的摄影方法。
5.水下摄影：将摄影机和人潜入水下进行拍摄的一种摄影法。
6.红外线摄影：用红外线为光源和用红外线胶片的摄影方法。

电影剪接的魔力 The Cutting Edge: The Magic of Movie Editing (2004)

The Cutting Edge: The Magic of Movie Editing is a 2004 documentary film directed by filmmaker Wendy Apple. The film is about the art of film editing. Clips are shown from many groundbreaking films with innovative editing styles.

Finally, in the film, I see Walter Murch, who is one of the greatest modern editors.

I first saw this name on a book “In the Blink of an Eye - A Perspective on Film Editing” which was wrote by him. This book was very thin, and very easy to read. After that I was aware of how great Walter was, as he was the film editor of “Cold Mountain”, “The English Patient”, “Apocalypse Now” and the trilogy of “The Godfather”.

Walter has the most scenes in the film. When doing the film-cutting, he has a lot of his own habits. For example, he likes standing, which is easy to follow the film’s rhythm; he likes choosing one or two pictures for each shot, and sticking them on the wall in order to get some clues when doing film cutting; he does not like to go to studio to keep himself an impartial person who only concerns with what is shown on the screen (he even suggests all of the directors to travel after finishing filming, so that the editor can get enough freedom in the stage of rough cut.); there is also a small detail, there are two small cardboard paper-men on each side of the screen where Walter watch the finished film. This is because we will face a big screen in the cinema, and these two paper-men can make Walter have the feeling of watching a film in the cinema. For this documentary, like some said, it does not involve editing skills, because technique is a hardware which you can learn from the book of final cut pro or Avid. Originality is the most important thing for editing, and it is also the re-creation of the film. As what is mentioned in the film: editing is manipulating.

终于在影片里看到Walter Murch本尊了。现代最伟大的editor之一。 

最早见到这个名字是因为他写的一本书 In the Blink of an Eye -A Perspective on Film Editing。这本书很薄，而且很易读，之后才知道Walter有多牛逼，是《冷山》，《英国病人》，《现代启示录》，《教父》三部曲等名片的剪辑师。 

Walter 在影片里面出场镜头算是最多的。他剪片有很多自己的习惯，比如喜欢站着，方便跟随影片的节奏；比如喜欢每一个shot选择一到两张照片，然后贴在墙上，为在剪片的时候提供线索；比如他不喜欢去片场，这样可以使自己作为一个做公证的人，只管种屏幕上所展现的 （他甚至建议所有导演在拍完片后选择出去旅游，给editor在rough cut 阶段充分的自由）；还有一个小细节，在Walter看成片的屏幕上，两边各有一个纸片的小人，这是因为电影院我们面对的是大屏幕，所以两个小人相比屏幕给Walter在电影院看片的感觉。如今看到这个纪录片，虽然就像有些人说的，没有涉及剪辑的技巧，因为技巧这个东西是硬件，你可以随便买本final cut pro 或者Avid自己去学，但是editing最重要的就是创意，是对影片的再创造。正如影片说的：editing is manipulating.

Character

In order to tell stories, a documentary is required to provide a reasonable basis of characters at first. My initial idea was to record “fishermen” and state that the job of “fishermen”, if fact, is far away from our city life. Therefore, people are more interested in stories and the characters in the stories. Each country has its own different social state, and if you want the social state to be acceptable by the audience of other countries, choosing a good story that can communicate with each other emotionally might be the best way.

Before starting the documentary, the tentative idea and orientation about hero should be determined. In fact, the thought for choosing actors of a story film can be used to the casting of documentary as well. Only when a typical fisherman is found can stories about fishermen be told. Although they all belong to fishermen, they are different in many aspects, such as personality, family relation and even visual effect. Whether the right “characters” can be chosen is directly related to the quality of stories told by the documentary. After field research, my British heroes’ image for the story gradually becomes more and more clear: “They have to undertake this fisherman job since a very young age; they might come from a place far away from big cities, and therefore, they maintain some distance to urban life; sometimes three generations work together, that is, experienced grandfather, skilled father and the son who started learning fishing recently; finally, all of these will go on".
That is why I chose the fishermen of Adrian Noble family. When I first went for interview, I fortunately met them, who were collecting their things after fishing and preparing to go home. They were exactly three generations - grandfather, father and son. We made a nearly two-hour interview. They were very enthusiastic and willing to tell their stories to help me. This undoubtedly highlighted my documentary.

Chinese heroes’ image in stories: “They also usually come from a place far away from big cities, such as some small islands; they catch fish, which is different with British fishermen, and only in this way can provide a vivid vision to the audience; since they do not have particular requirements for fish species, I will focus on the Chinese fishermen’s fish-killing and family support”. Therefore, I chose Guangming Zou, a local fisherman from Dengbu island.

纪录片要讲故事，首先要有一个合理的人物基础。我最初的想法是想拍“渔民”，以及“渔民”这个职业离我们的城市生活其实很遥远。所以人们更感兴趣的是故事和故事里的人物。每个国家都有各自不同的社会状态，要让这种社会状态呈现在其他国家的观众面前并为他们所接受，选择好一个可以沟通彼此情感的故事可能是一个最好的方法。
在纪录片开拍之前要有对主人公的设想和定位，剧情片选演员的思路，但其实也可以用在纪录片的选角上。“要讲好‘渔民’的故事，首先要做的就是在渔民中找到一个典型。”同样是渔民，无论是性格上、家庭关系上甚至视觉效果上都有很多不同。有没有选对“角色”，直接关系到纪录片能不能讲好故事。经过实地调研，这样对于“故事”英国的主人公的形象逐渐鲜明起来：“他们必须从很小就开始渔民这项工作；他们应该来自一个远离大城市的地方，与城市生活有一段距离；有三代同时工作的，有老练的爷爷和成熟的爸爸还有刚开始学习捕鱼的儿子；最后，一直延续下去。”
所以我选择了Adrian Noble一家渔民。当我第一次去采访时，就很幸运的碰到了他们一家人正捕鱼回来在港口收拾东西，准备回家。他们当时正是三个人，爷爷、爸爸和儿子。与他们通过了将近2个小时的采访，他们非常的热心，很愿意讲述他们自己的故事来帮助我。这无疑让我的纪录片增加了很多色彩。
对于“故事”中国的主人公的形象：“他们基本也需要来自一个远离大城市的地方，比如一些小岛屿；捕捞的海鲜需要鱼英国渔民不同，这样才可以让观众的视觉有鲜艳感；对鱼他们的家庭没有特定的选择，我会把重点放在中国渔民杀鱼和家里人的支持。所以我选择了来自登步岛的当地渔民Guangming Zou。

时间的风景 TimeScapes (2012)

The documentary is just like a collection of shooting works, which are made into a movie. Beautiful, each frame is frozen as an extremely beautiful picture. When the blue sky turns into the universe and clouds into pink marshmallows, you can feel pleasant and free like your sweat, and you can do nothing but praise the beauty of nature.

Time is originally an abstract concept, but the director expresses it with specific things: the starry sky, sunrise, waters and so on, making the time touchable for the audience. Watching the stars shine in the sky, the sun rises from horizon line and water flows down from the mountains, we can conscientiously feel the elapse of time. At first look, it might be beautiful, but its real content is desolate. I did not feel so much but aesthetic sense at first watch. But it is at the second time when I watched it by fast-forward method, the sense that time takes you ahead was realized. When you want to die or want to live, this documentary should be chosen for appreciating. Besides, the soundtrack is really sad. You can see what has happened in different spaces at the same time, and also, how a space changes in different times. From the universe, the starry sky to specific human beings, all of them are “dancing” along with time.

As for the scenery about time, the director elongated the time axis of time lens, showing the audience minor changes that they usually pay no attention to. There are so many beautiful images, so I will choose to describe several ones that are easier to remember:

The young girl who dances with the music, the space detection station that moves in accordance with the changes of galaxies in space, they have combined human’s dance and universe’s dance together. With the music, epinephrine is secreted with

In the second scene, lens goes closely to the river and quickly moves in the valley along with the direction of the water flow. A series of dynamic beauty provides us a sense of urgency and curiosity.

Time Scapes - the name itself has expressed all the content.

这部纪录片就像将一本摄影作品，做成了一部电影。很美，每一帧定格下来都是一副极美的图片，看天空如何变成宇宙，看白云如何变成粉红色的棉花糖，自然真的是极美的，就像人的汗水真的是极畅快淋漓的，当平日里习以为常的蓝天在眼中变成宇宙。
时间本来是抽象的概念，导演用具象的事物：星空、日出、流水等让观者体会时间究竟是什么东西。当你仰望星空、看太阳升起、看水从山上流下时，才能切切体会时间的流逝。可能有一丝丝美，但是背后却是悲凉。第一遍看，没有太多感觉，顶多是唯美感。第二遍，跳着看时，时间带着你走的那种变化才真切体会出来。当你想死或者想活的时候，都可以看看这部纪录片。这配乐实在悲凉。同一时间下，不同空间发生了些什么；不同时间里，同一空间又有什么变化。从宇宙星空到具象中的人，是怎么跟随时间而“舞动”的。
时间的风景，将时间镜头的时间轴拉长，让观众看到平时不注意的轻微的变化，很美的画面很多，挑几幅比较容易记住的场景描述一下：
随着音乐扭动的美少女，和随着太空星系变化的太空侦测台的扭动，将人类和宇宙的舞动出奇的结合到了一起，随着音乐，肾上腺素一同分泌。
第二个场景是镜头贴着河面，随着河流一同在河谷中快速移动，一系列的动态美，给人紧迫，好奇的感觉。

时间的风景，名字本身就韵味了一切。