2014湖南元宵晚会

*Shinjuku Mad* was one ofKoji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted.Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image.What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market.Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later.The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz.So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping.Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property.After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene.He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls.He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings.That was Japan, thirty-seven years ago.

小夫（肝付兼太 配音）炫耀自己家的暴龙趾骨化石。大雄（小原乃梨子 配音）眼红并信口开河表要找大整架恐龙化石，否则便用鼻子吃意大利粉。于是，他便前往图书馆借了些有关恐龙化石的书籍。后来他在附近的断层挖到一枚恐龙蛋的化石，借了哆啦A梦（大山羡代 配音）的时光布还原得到一只双叶颈龙，并以叫声将之命名为皮助（横泽启子 配音）。很快大雄和它成为好朋友，但因它越长越大且被人发现，故大雄决定将他送回白垩纪时代。可是，后来却发现将它错送到上古的北美洲。于是，大雄一行人乘时光机再次回到恐龙时代，但途中被欲抢皮助的神秘人追击，时光机因而故障，使大家必须靠自己沿着古陆块回到日本。经过长时间的冒险，神秘人物再度出现希望获得皮助，原来是他来自未来的违法恐龙猎人（加藤精三 配音），要获得皮助卖钱，要大雄一行以交出皮助为条件，换取将他们用时光机送回家，大雄将会如何取舍，回到自己家呢……《大雄的恐龙》是藤子·F·不二雄的科幻漫画哆啦A梦中的第一部长篇漫画作品，也是第一部哆啦A梦的剧场版动画电影。

讲述了一位像无根草一样生活着的、一人一剑执杖天涯散发出惊人的强大和性感的新英雄。饰演这位英雄多十郎的是初次动真格地挑战蝮蛇的高良。散发着不可思议的魅力的多十郎，受其照顾、含有隐情的小料理屋女将音世由多部未华子饰演，胸有大志而上京的多十郎弟弟数马由木村了饰演，三人各自怀着不同的想法，与見廻组展开了殊死搏斗

长久以来，罗莎（张昭妍 饰）和库敏（安泰健 饰）都享受着平静而幸福的婚姻生活，可是，就在最近，罗莎发现丈夫的行踪有些诡异。心生疑虑的罗莎开始怀疑丈夫在外面有了情人，被妒忌折磨的痛苦不堪的罗莎决定靠自己的力量找出这个隐匿在丈夫背后的第三者。通过跟踪，罗莎终于目睹了这位第三者的真容，然而，神秘面纱的揭开却让罗莎开始后悔起自己鲁莽的举动来。丈夫的情人并非什么美艳少妇，却是一个姿态妖娆的男妓，一时间，罗莎不知如何是好。渐渐的，罗莎发现男妓的身影占据了自己的全部大脑，自己居然在莫名之间深深的被他吸引。千回百转之后，两人终于越过了那道禁忌的界线，至此，剧情急转直下，两男一女该如何处置他们泛滥的欲望和情感呢？