情链泰剧在线观看

根据斯泰纳姆同名自传改编，将聚焦她如何从一名普通记者成为美国女权运动的先驱。

*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.

【NHK行家本色系列《庵野秀明特辑》 将播出100分钟加长版！】此前，NHK行家本色栏目播出了长达75分钟的「#庵野秀明# 特别节目」，由于观众反响很好，目前官方宣布将播出增加了新内容的100分钟加长版《再见了所有的EVANGELION~ 庵野秀明的1214日》（さようなら全てのエヴァンゲリオン～ 庵野秀明 の１２１４日），加长版将于4月29日播出。

這是一個TVB香港86家傳戶曉的情景式喜劇，劇情中加入了八十年代正好紅透半天的樂壇偶像天驕LESLIE。《香港八一至香港八六系列》，是香港电视广播有限公司1980年代的经典时装处境喜剧。本剧于1981年首播。由《香港八一》、《香港八二》、《香港八三》、《香港八四》、《香港八五》，直到1986年的《香港八六》，才被新的处境喜剧《城市故事》取代。一共拍摄了1330集，为香港现时集数最多的剧集，纪录至今未破。剧集中每集故事，均取材自当时社会时事话题，剧情早期多为讽刺时弊；而剧中的人物陈积、顺嫂、懋叔、觉悟因、苏小姐、阿威、阿康等人大部分来自草根阶层，因此令观众留下深刻印象，例如“顺嫂”这角色后来被引申为形容一般没甚学识人云亦云的“师奶”；由颜国梁饰演的“陈积”任职经纪，为人市侩、爱贪小便宜、爱充阔、爱炫耀信用卡，亦曾经成为香港同类人物的代名词。据无线一些编剧所说，《香港八一》最初希望仿效商业电台的长寿广播剧《十八楼C座》，采用即日新闻作题材，即日拍版编成剧本的模式，以期望贴近时事，播放初期，适逢当时地铁(现港铁)建成通车，演员们就在一个搭建成车厢的布景中拍摄每集的预告宣传片，取市民车厢关心热门话题的演出效果。但对于编剧来说是一宗苦差，后来实行了一段时间后，才改走温情路线。但相对无线电视之后二十多年的处境喜剧，《香港八一》仍是最能即时反映社会时弊的电视剧。