十集迷你剧真爱天涯

杳无人烟的蛮荒旷野，一丝不挂的女人躺在躺在旷野中央，脸上看不出一丝的慌乱与紧张。在她的体内，一枚浑圆璀璨的珍珠悄然生长。珍珠成熟落地，女人悠然把玩着这枚透亮的宝物。以此为开端，更多的珍珠从她的体内诞生，一枚、两枚……数十枚，女人被团团包围。而就在不远处，许许多多贪婪地目光死死盯着女人所在的方向。一个极其丑陋的鸟头怪人走进了她，将一枚珍珠拿走，和它的同伴们肆意把玩。其中一只将珍珠吞了下去，谁知竟在很短的时间内变成了那个年轻女人的模样。鸟人们似乎意识到了什么，它们转过头来，贪婪地瞪着女人……

有着信念的大学教授张泰俊(朴海日饰)为了改变世道梦想进入政界，张泰俊的妻子美术馆副馆长吴秀妍(秀爱饰)想要成为馆长。各方势力在密切关注着利用“市民银行”这一idea挑战国会议员的张泰俊。今年获得作家奖的作家兼大企业总裁韩龙锡(尹济文饰)，和他的妻子美术馆馆长李画兰(罗美兰饰)将关注着张泰俊和吴秀妍夫妇。讲述比起现在，想要进入更好的群体、进入上流社会的人们的欲望冲撞。——来自@罗美兰－中文饭团

閉ざされた空間 内田有紀言葉の戦争 吉田栄作 伊藤美紀ルナテック・ラブ 豊川悦司 中島ひろ子心の旅路 西田ひかるにぎやかな食卓 いしだ壱成

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."