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完結
陳星旭,王玉雯,馬思超,曾夢雪,於翔,丁燃
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更新至第21集
辛芷蕾 , 林雨申 , 張藝上 , 鄭希怡 , 王子睿 , 代雲帆 , 馬德鍾
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完結
孟娜,時康,聶小舟,王珏璽
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白宇,周雨彤,朱亞文,俞灝明,董勇,倪大紅,保劍鋒,郝平,蔣愷,尤勇智,張曉晨,劉暢,梅婷,於洋,張帆,吳昊宸,薛佳凝,海一天,趙子琪,尤靖茹,魏千翔,朱嘉琦,任宥綸,牛超,田雷,赫子銘,賈宏偉
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全劇集
侯明昊,古力娜扎,陳若軒,程瀟,趙弈欽,張南,張慧雯,胡靜,李倩,湯鎮業,曹駿,張壘,柳明明,於明加,張百喬,劉雪華,趙昭儀,姜超,董璇,楊雪,完顏洛絨,馬聞遠,李菲,趙嘉敏,劉擎,舒童,張婉瑩,滕澤文,潘宥誠,黃星羱,孫晶晶,李千逸,餘茵,白川,李佳潔,弭金,蒙恩,金秋,白翊汝,伍中元,崔旭宇,陳騰躍
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更新至126集
史澤鯤,常文濤,林強,周湘寧
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更新至第34集
崔雨鑫,方瑾
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第28集已完結
王子奇,蘇曉彤,楊廷東,趙堯珂,張宸逍,王彥鑫,柴浩偉,鄒敦明,宗峯巖,郭軍,黃夢瑩,陳天明,林杉
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江疏影,佟大爲,張超,藍盈瑩,闞清子,袁文康,張兆輝,令卓,伍宇辰檸,王建新,劉恩尚,柯藍,王耀慶,曾一萱
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已完結
陳星旭,盧昱曉,代旭,馬思超,李婷婷,任宥綸
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完結
金宣虎,高允貞,福士蒼汰,李伊潭,崔佑成
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更新至10集
楊新鳴,彭昱暢,嶽暘,晏紫東,林允,劉冠麟,王成思,沈浩,昌隆,魏子昕,姚一奇,葉祖新,何瑞賢,湯夢佳,馮暉,孫暘,吳俊霆,王天放
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更新至68集
張若瑜,李欣,程玉珠,杜晴晴,虞曉旭,於凱隆,高嗣航,張恆,王宇航,劉宇軒,唐昊
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更新至10集
池晟,樸熙順 ,元真兒
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更新至12集
楊紫,胡歌,李光潔,張哲華,梅婷,袁弘,楊爍,周遊,金巴,馮兵,更旦,蘇鑫,宋楚炎,周放,周思羽,索朗旺姆,尕瑪文加,才丁扎西
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.