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."

警探约翰?麦卡伦（布鲁斯?威利斯 饰）从纽约来到洛杉矶，见他分别已有半年之久的妻子霍莉（邦尼?彼地丽娅 饰）。他被邀请参加在一栋大厦的30层举行的圣诞晚会。然而一群匪徒却打起了大厦金库中存有的六亿多元公债券的主意。他们封锁了大楼，将参加晚会的人扣作人质。麦卡伦侥幸逃脱，只身与匪徒们展开了激烈的斗争

讲述卡尔在艾莉去世后即将迎来第一次约会的故事。

本美术片为剪纸片，讲述了“除夕”和“年”的由来。古时候，名叫“夕”的怪兽每逢腊月三十晚上会来到人间祸害老百姓，连灶王爷都对它无可奈何。后来灶王爷上天请天神帮忙，仙童“年”自告奋勇来到人间，在灶王爷半信半疑的目光中，“年”和“夕”大战几个回合，用手中的竹竿和红绸将之打死。老百姓为了庆祝此次胜利，将腊月三十叫做“除夕”，为了纪念“年”的功绩，将“正月初一”叫做“过年”，风俗延续至今，不过“烧竹竿”变作了“放鞭炮”，“挂红绸”变作了“贴春联”。