警威壮贺兰

1945年秋，侵华日军无条件向中国投降，5名八路军收尸战士——排长（陶泽如）、胡子（刘若雷）、大个子（葛亚明）、瘦子（周琦）和小个子——在掩埋烈士遗体时，在一座破旧的古庙中发现一名即将饿毙的日俘（孙敏），并从他口中得知不远处有一支与大部队失掉联系的日军小部队。共有32名日军的该小部队守卫着地处陡峭崖壁的山洞里的秘密军火库，已断粮多日。5名战士将山洞包围喊话，表示会无偿提供食物，军曹（胡宗琪）带领日军走出洞口哄抢食物时，一名瘦骨嶙峋的中国劳工跑了出来，局面一度紧张，不久几名几乎被摧残致死的中国劳工被救出。5名战士奉劝日军认清形势缴械投降，日军不肯，双方僵持良久。其后大部分日军举起双手，但日军中尉（丛培信）已成疯子。

北海道・旭川にある宝くじ売り場。気温氷点下にもかかわらず、続々と人がやってくる。ここは、高額当選がよく出る「伝説の売り場」なのだ。およそ70年の歴史で生まれた億万長者は38人。当選総額100億円を超えるという。過去には、ハズレくじの中に5000万円の当選くじが入っていたり、倒産寸前で1000万円を当てた中小企業の経営者もいた。みんな、どんな夢を宝くじに託すのか。一攫千金を夢見る人たちの物語。

雄心壮志的冰岛音乐人拉斯和席格芮得到千载难逢的机会，代表国家参加全球最盛大的歌唱比赛。他们终于有机会证明：值得做的梦，就值得勇敢去追。

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.)