七十年代小后妈

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.)

突然间，这个世界被分成了四个，景和，妳音，道长，兹穆丽被飞进这四个不同的世界里，而且在这个看起来不一样的世界里，他们遇见了四个怎样看都不对劲的英寿，英寿竟然被分裂成了四个。究其原因是未来人搞的《世界毁灭游戏》，面对英寿和世界的危机，太狸、猫猫、牛牛、狼姐、老爷爷和南瓜熊也参战，在着奇想之外的展开中，黑色的极狐出现了，究竟英寿和世界的命运会如何？

風流儒雅的楊公子購得一幅狐女圖，每當公子仰望壁上狐女圖，口呼青妹之時，狐女便冉冉而下，兩情繾綣，夜復一夜。老爺夫人兩老為此大驚，請道士抓狐。公子見狀，以身護狐女，吸血鬼忽現身殺死道士助手並企圖挑逗公子，狐女見狀立即與吸血鬼展開惡鬥…

一介贫民仁杰（刘家辉）为惩罚平时靠鱼肉百姓过日子的恶霸高峰（王龙威），假扮三德和尚对其展开攻势，不想被对方识破反遭一顿痛殴。其后，仁杰来到少林寺请求三德和尚传授功夫，但不被对方作正眼旁观。有感于仁杰的诚心，三德和尚最终允许他留在少林寺，但不教授功夫，只让他负责搭棚修葺的工作。仁杰在工作之余，不忘初来志愿，见缝插针恳求三德和尚收他为徒，终惹怒对方，在对方的示意下，仁杰明白搭棚亦是少林功夫的一种，从此刻苦学习。