国产麻豆剧果冻传媒白晶晶

民国初年，湖南某地。德华（富大龙 饰）自幼聪明倔犟，父亲（周光大 饰）为供他上私塾累病，母亲（郭汉兰 饰）也离开了人世。爷爷离家前把大刀传给德华，从此德华小小年纪挑起了生活重担。村中财主陈大善人（郑杰 饰）做寿，应允谁说吉利话给谁大米，德华不畏强势，宁饿肚子也不去奉承财主。八舅是个吹鼓手，专司村中红白喜事，膝下无子，有意过继德华继承其衣钵，但德华看不起舅舅从事的行当，每天靠上山砍柴度日。地主家狗腿子大暴牙欺负穷人家孩子，被德华狠狠收拾了一顿。德华与伙伴罗满（杨彦强 饰）下煤窑做苦工，可到了月底窑主卷钱逃跑了。德华带饥饿的乡亲们抢了财主家粮仓后，只身外出寻找穷人的出路......

这部短片讲述了从“女孩”成为“女人”的心理转化旅程。A small and simple story which tells the journey of psychological change from "a girl" to "A woman".

赤胆忠心的杨家将，世世代代为国而战，子子孙孙为民而死，留下了不少惊天动地的战役。老一代的英雄倒了下去，但是少一代的豪杰又站了起来，直战到最后一员虎将杨宗保。为了抵抗西夏侵犯疆土，远征边关，与强敌苦战三昼夜。他保持这样加不屈不挠的精神，以寡敌众，不幸在金山之役中了埋伏，全营将士壮烈牺牲。杨宗保身负箭伤，被困金山，以身殉国。杨家满门为保卫宋朝江山及替杨宗保报仇，在老祖母佘老太君的发起下，组成了一支杨家军，誓与番邦周旋到底。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)