24小时:遗产

原作 ：ロバート・L・スチーブンソン監督 ：池田宏脚本 ：飯島敬、池田宏作画監督 ：森康二美術 ：土田勇音楽 ：山本直純EDテーマ ：「ちっちゃい船だって」作詞：石井浩一作曲：山本直純歌 ：ヤングフレッシュ メールハーモニーアイディア構成 ：宮崎駿企画 ：山梨稔、伊藤企義、飯島敬製作 ：大川博杰和好朋友老鼠格兰在一次偶然的机会里，从海盗手中得到了福林达船长的藏宝图，于是一行人结伴前往金银岛寻宝。途中大家为了争夺地图而起内哄，猪船长把福林达船长的孙女凯西软禁并企图刺杀她，幸好没有得逞。经过长途跋涉、历尽千辛万苦，大家终于到达梦这寐以求的金银岛，寻宝过程中，杰、凯西与猪船长一伙展开了生死决斗，千钧一发之际，岛上现出了一个大湖泊，猪船长想独吞宝藏却被大水冲走。湖泊之水退去后，寻找多时的宝藏终于出现在杰和凯西眼前。

镇西总兵刘大雄与夫人绮梅（茅瑛 饰）在归途中遭到昔日四个仆人的拦截。在这次袭击中，刘大雄不幸被害，而绮梅遭受了侮辱。然而，这四个仆人的幕后主使却是六亲王的随从。因企图谋杀官差，绮梅被错判为罪犯，被判处终身流放到海中孤岛——狼牙岛。在狱中，绮梅结识了千手观音，并成为了好友。在孤岛上，她生下了一个女儿。为了不让女儿卷入尘世的纷争，千手观音决定将她送进尼姑庵，并将她取名为洁莲。然而，当洁莲练就了一身武艺之后，因为杀气太重而触犯了杀戒，被迫被逐出了寺门。洁莲从她的乾娘千手观音口中得知了自己的身世，决心报仇雪恨。她铭记着20年前在孤岛上所受的委屈和屈辱，誓要为父母报仇雪恨，追寻真相，让那些置她父母于死地的人付出应有的代价。

*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.

《2019 KBS歌谣大祝祭》公开首波阵容，防弹少年团→ITZY全体出动]1日，据多家媒体报道，《2019 KBS歌谣大祝祭》确定演出日期的同时公开了首波演出阵容，防弹少年团-MONSTAX-RedVelvet-ITZY-NU'EST-TWICE-SEVENTEEN-GOT7等K-POP顶级组合大举加入。今年最顶级的歌手们将会以怎样的主题呈现华丽的年末舞台呢，备受粉丝们期待。该庆典将于韩国时间12月27日晚7时50分在一山KINTEX举行，KBS 2TV将进行现场直播。