铁齿铜牙纪晓岚4部

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."

Tom chases Jerry into a fish cannery; they get sealed into cans. Tom breaks out, but falls off a pier as the cans roll under him. A shark chases him out of the water; Tom drops an anchor on the shark. Meanwhile, Jerry has been hopping in his can; Tom opens it, and puts his finger in, which Jerry bites. Jerry tricks Tom into falling off the end of another pier, and right into the shark's path again. The shark manages to get Tom into a very precarious position, barely holding the jaws apart. Jerry takes pity, and dumps a shaker full of pepper into the shark, which ends up on the processing line and stuffed into a huge can. Tom is unrepentant, so Jerry tricks him with a fake shark fin.

反对独裁政权企盼民主主义、怀揣总统梦的政治家与其背后以天才战略搅动竞选局面、人称“选举鬼才”的男人在上世纪60-70年代所经历的波澜万丈的故事。

电影讲述在以日本政府为被告的众多法庭斗争中，获得空前绝后的胜诉判决，引起了日本司法部罢工的“关釜裁判”的真实故事。