名门绅士之考古劫心

在一座大城市的阴暗角落，正发生一场激烈的拳脚打斗。几只野猫遭到无情的打击，全然丧失抵抗能力，而施暴者竟是一只身材矮小却蛮力过人的小老鼠——马索（Muscle）。在收拾过老猫后，马索察看门前的信件，发现了远方表弟杰瑞寄来的信。信中杰瑞痛陈被汤姆欺压蹂躏的始末，并衷心地向表哥求助。亲戚有难，自然应责无旁贷地出手相助。马索即刻收拾行囊启程，一路上所有的猫都闻风丧胆，早早躲藏起来。与此同时，杰瑞正被汤姆逼在洞中戏耍，表哥的出现给他生的希望。当然，汤姆不会将马索放在眼里，可是他很快便发现眼前这个和杰瑞一模一样的小家伙，却有着极其强大的战斗力……

电影《7号室》以首尔一家即将倒闭的DVD房为背景，描述两个男人在DVD房7号室里，为了掩饰攸关性命的秘密，还有摆脱眼前困境而努力的故事。

一名遇到写作瓶颈的畅销小说家雇佣了一个新保姆来照看她的孩子。随后，小说家开始分不清虚构与现实之间的界限。

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.)