2021跨年

青菜地里喷洒过农药，一只菜青虫侥幸活了下来，来到益虫医院门口时，它乔装打扮了一番，被螳螂救了进去。啄木鸟医生询问病因，菜青虫撒谎自己吃桑叶太多撑坏了肚子，被获准住院观察。次日清晨，病友纷纷起床锻炼身体，唯独怕暴露身份的菜青虫赖在床上，而大伙在报自己最爱吃的菜名时，菜青虫也左右躲闪。终于，它的奇怪举动引起了病友的怀疑，它们决定去报告啄木鸟医生，恰巧，啄木鸟医生通过化验它的大便，知道了它是一只专吃青菜的菜青虫。然而，当大伙来到菜青虫的病床前，想将它当场拿下时，发现它已不见了踪影。一场捉拿菜青虫的行动展开。

李子軒是學西洋美術的學生，卻熱衷民俗藝雕刻，尋訪民俗藝術雕刻家『阿榮師』懇請傳藝。皎潔的月色下，子軒巧遇『行芝』，她是一位美麗的女孩。他們有情、有意、一段纏綿的愛情，就這樣開演了。阿榮師提醒子軒要專心學藝，好奇心的驅駛，子軒打破了阿榮師的禁忌，揭開了供桌上神祕的紅巾。雷電交加……不幸的命運，悽慘的遭遇，從阿榮師的口中寫了出來，行芝是他的女兒己經去世了，他用移魂大法，將她的魂魄灌住於木偶之中。供桌上神秘的紅巾謎底已經揭開了.....

浪人武士伊右卫门因主人家道衰落, 变得生活潦倒, 妻子阿岩更被迫卖身. 一日, 卫门救了一位富家女, 女子对他痴心一片, 衞门为了钱, 决意与她结婚, 但阿岩强烈反对. 卫门将阿岩毒死, 阴魂不散的阿岩化成了厉鬼, 对卫门缠绕不去…

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."