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1997年3月，由庄孔韶教授带领的教学研究小组来到长江中游沿岸的土家族地区做人类学调查，目的是建立人类学书本知识和田野现场之间的联系，以及寻找有价值的调研切人点，以实现跨学科合作研究的可能性。《长江沿岸田野纪行》就是根据此次调查所做的全程同步的影视教学记录。现在重新剪辑后，转而用于今日的大学课堂，旨在方便那些准备进入田野地点的人类学学生，通过观看这部影片，引发他们思考理论与调研现场实现学术对接的契机，并进一步转换成他们自身田野工作的思考。

故事发生在七十年代我国台湾某海防阵地，狗蛋（郝邵文 饰）是村里顽劣的孩子，他整天跟着值星官吴班长（吴宗宪 饰）干着偷鸡摸狗的勾当，过着无忧无虑的日子。由于军纪涣散、表现实在不象话，上司调来了新队长（吴奇隆 饰），新队长誓言三个月改造这群乌合之众。在历经一段令人啼笑皆非的整顿后，军纪果然有了明显提高，并在中美军演中表现突出，虽说以微弱比分输给了美军，但海军司令部高度评价了新队长的带兵经验，连狗蛋的班主后（翁虹 饰）也对其产生了好感。新队长谢绝上峰对他的提拔，说服当将军的父亲，绝定留在这里，父亲最终同意了他的请求。殊不知，吴班长等一干人马恨不得他离开这里，因为大家实在受不了他的魔鬼训练......

*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.

本片是通过元杰第一人称的诗意独白，展开了一个关于杀手四人组的传奇。元森（申胜勋 饰）是杀手们的头领，他为人单纯坦诚，而且还有个单相思的恋人——女主播欧阳兰。他很呵护自己的弟弟元杰（元彬 饰），不让他碰枪，只许他做饭，但是现实往往事与愿违。另外两个排挡，一个是跑马拉松的天才吴杰（申河均 饰），他时常会因流连景物而忘记了目的地，后来他还爱上了一位美丽的孕妇。另一个是狙击手杨春（郑再泳 饰），他点杀的功夫炉火纯青。四个风格迥异的家伙，通过替客户杀人谋生，但却碰到了一个很聪明又很识相的警察（郑镇荣 饰）。在猫鼠博弈中，他们享受着团队作战的快乐。但是当客户点名消灭的对象变成了老大的梦中情人——欧阳兰，一切都变得不同……