The Yacht Party

This is one of the rare gems in early Chinese musical films that still exists today. Nancy Chan plays a naïve young woman who can sing and dance. Under the arrangement of her stepfather, she becomes a star and indulges in the glitz and glamour of the entertainment world before getting married to a wealthy heir in Nanyang. Yet her husband is cruel and unfaithful, leading her to divorce and return to her parents in Shanghai. She is set for a comeback to the stage. Her young daughter suffers from a serious illness. A remake of the Bu Wanchang’s silent film The Light of Maternal Instinct (1933), this film takes cues from Hollywood musicals, resulting in an elegant and lively fusion of camera movement and musical numbers. The film also reflects the harsh reality of China in the 1930s and the pathos of popular literature by combining morals, entertainment and social commentary to show that changes in the idea of femininity is a symbol of progress.

A party, musical love stories: head North, on a Northern Soul rhythm.

In a nightclub setting, Jimmy Dorsey and His Orchestra, with two of his vocalists, perform four of the group's best known songs. For the complete list of songs, check the soundtrack listing.

Artie Shaw and his orchestra perform four popular songs, "Alone Together", "Jeepers Creepers", "Deep Purple", and "Lady Be Good".

Jack Parr hosts a variety program of comedic sketches.

Darta, a man from an impoverished family, is rejected by the wealthy parents of the woman he loves. Desperate, he strikes a bargain with the Monkey King, performing a dark ritual to gain wealth. However, in doing so, he accidentally curses his wife and child to a life of suffering. Rooted in Indonesian mysticism, this universal narrative explores the insatiable hunger to become something one is not and the boundaries one is willing to cross to achieve it.

The first part of this Academy Award-winning short consists of a behind-the-scenes look at the Los Angeles Philharmonic Orchestra as it prepares to perform Ravel's "Bolero." Individual musicians offer their thoughts as workers set up chairs and music stands; there are also comments by conductor Zubin Mehta and scenes of Mehta and the orchestra rehearsing. The rest of the film features a complete performance of "Bolero" with striking images of the orchestra as the music relentlessly approaches its climax.

Critical review of the music of the Electric Light Orchestra during the Roy Wood era. Features highlights from tracks including '10538 Overture', 'Jeff's Boogie 2', 'Queen of the Hours' and 'Ball Park Incident'. The Independent biography traces the foundations of the band through its metamorphosis from The Move in 1970 and later to the point where Roy Wood quit the group leaving Jeff Lynne to steer the band in to worldwide stardom. Narrated throughout by a team of music journalists and musicians. Also included are a bonus live set filmed in 1972 originally called Granada's Set of Six and features four of the six songs, These songs are the only known live original Roy Wood ELO tracks ever filmed. The DVD was originally released in 2005 under the title Inside the Electric Light Orchestra 1970–1973 minus the bonus live tracks.

Showman Jerry Travers is working for producer Horace Hardwick in London. Jerry demonstrates his new dance steps late one night in Horace's hotel room, much to the annoyance of sleeping Dale Tremont below. She goes upstairs to complain and the two are immediately attracted to each other. Complications arise when Dale mistakes Jerry for Horace.

A freed slave, who is descended from a murdered witch, plots revenge with her grandmother on a sugar plantation's inhabitants. Complications ensue due to her love for the master of the estate.

In this vivid transposition of contemporary music for television, Cahen "responds" to the complex musical transitions of Répons, a work by French composer Pierre Boulez. Performed by the Ensemble InterContemporain and conducted by Boulez, the intricate Répons was designed for an ensemble of twenty-four musicians, six soloists and a "real-time" digital processor. In Cahen's re-composed interpretation, he responds with visual and temporal transformations, "opening" the images in space and time and applying electronic techniques to engulf the instrumentalists in ocean, sky, and trees. Mirage-like superimpositions, temporal shifts, mirroring effects and de-synchronization result in a rhythmic confluence of the illusory and the real. Immersing the viewer in image and sound, Cahen mirrors the transformative process of Boulez's music.