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盲目的丈夫们
美国英语1919
  Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?  The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)  From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

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我家的春秋冬夏
大陆国语2013
  《我家的春秋冬夏》以“黄昏恋”为独特视角,讲述了一个“老爸恋上知音保姆”的故事。该剧以老秦家四个女儿联手阻碍老爸与保姆的婚姻为由头,表现当下儿女们对父母再婚的顾虑和矛盾,四个女儿与老爸之间的家庭矛盾成为贯穿始终的核心话题。  退休的国营珠宝字画行老技师秦春秋某一天突然召集四个女儿回家,说有重大的事情宣布!他和家里的钟点工马瑙相爱已久,现在准备结婚。这一下引起了轩然大波。四个女儿一致反对老爸的选择。秦春秋的前妻也想与他复婚,也加入这场家庭大战之中。但钟点工马瑙是一个善良大方的女性,她热心帮助秦家的每一个女儿,解决她们遇到的各种问题,一个一个地化解了她们的误解,让她们感受到人间自真情在。同时,马瑙还出婚前财产公证,也让大家明白她是真心爱老秦的。几个女儿同意了他们的选择,一场风波风平浪静,这时,马瑙的前夫大勇却突然出来,又引发新的矛盾,马瑙很好地处理了与大勇的关系,让他明白了什么是真正的爱情,大勇知难而退,去找自己的生活,几个姐妹目睹马瑙的作为,感到她是老爸正确的选择,最终同意了这件婚事,大家开开心心地开始的新的生活。

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