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田曦薇,張凌赫,任豪,孔雪兒,鄧凱,李卿,喻鍾黎,劉琳,嚴屹寬,嶽暘,杜淳,譚凱,毛林林,葉祖新,於洋,李建義,田麗,寇佔文,付淼,盧勇,苑冉,王九勝,高卿塵,賈妮,金珈,林沐然,林思意,何昶希,高上淇,李殿尊,管雲鵬,管梓淨,張舒淪,李昱唯,向夏,韓浩天,王亭文,曹晏寧,吳佳峻,楊賀文
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譚松韻,董晴,奚望,高至霆,王勁松,劉威,石雲鵬,趙志偉,王千果,邊程,曲哲明,任帥,郭鵬,戴向宇,童蕾,胡小庭,徐筠,馬德鍾,趙亮,黃璐,劉園媛,盧琳,姜馥頤,馬亮,朱鐵
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37集全
周翊然,包上恩,余嘉誠,范靜禕,邊天揚,段鈺,閆玉晨,袁文康,李媛,經超,盧杉,車保羅,趙英博,盛一倫,萬鵬,李昀銳,劉潤銘,單敬堯,程泓鑫,楊賀文,黃振宇
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王楚然,丞磊,唐曉天,胡意旋,馬蘇,崔奕,樊少皇,尤靖茹,張瑞涵,隋詠良,赫雷,姬曉飛,謝澤成,郝漢,程泓鑫,梅寶萊,董思怡,鄭鈞顥,孫斌
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全85集
沉思,李柯以
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全劇集
白鹿,王星越,姚安娜,趙晴,趙弈欽,張維娜,代露娃,李欣澤,侯長榮,何中華,趙子琪,盧星宇,楊星慧,耿樂,尹鑄勝,丁笑瀅,李岱昆,言傑,常鋮
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史澤鯤,常文濤,林強,周湘寧
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第28集已完結
張凌赫 徐若晗 王宥鈞 唐九洲 黃燦燦
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梅婷,田雨,陳昊宇,李雪琴,劉奕鐵,周澄奧,蘇小玎,張月,王仁君,柯藍,張雨劍,趙麒,石佳靈
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柳演錫 , 李絮
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李聖經,蔡鍾協,李美淑
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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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葉瀾
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馬思純,寧理,袁姍姍,翟子路,章濤,範湉湉,張維伊,張志忠,塗凌,任正斌,焦鈺,鄭則仕,朱茵,陳逸恆,夏力薪,柳小海,白薈,王婉娟
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完結
孟娜,時康,聶小舟,王珏璽
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.