萨比格尼·瑞比克金斯基导演1988年制作的《Fouth Dimension》是一部极具视觉观赏性的影片，静物和人体都可以在思维空间中扭曲，特别是一对男女相拥时周围出现DNA的双螺旋结构，极富艺术感。浮动的精子、贝壳等性的象征物表现出阴阳结合的自然美好，歌颂了造物的神奇。

萨比格尼·瑞比克金斯基导演1988年制作的《Fouth Dimension》是一部极具视觉观赏性的影片，静物和人体都可以在思维空间中扭曲，特别是一对男女相拥时周围出现DNA的双螺旋结构，极富艺术感。浮动的精子、贝壳等性的象征物表现出阴阳结合的自然美好，歌颂了造物的神奇。

“Created under a ‘manifesto’ whose directives would make Lars von Trier shudder, this three-part film might look on paper like an exercise in forced hipness. Working under orders tall, whimsical (according to the manifesto, a stuffed animal must make an appearance no matter what) and surreal, Korine’s Lotus Community Workshop drops Val Kilmer in an alternate-universe existence as a BMX-riding motivational speaker with a fanny pack. Fedorchenko’s Russia-set Chronoeye spins the tale of a grumpy inventor whose noisy neighbor interrupts his time-travel experiments. And Kwiecinski’s eerily beautiful Fawns follows a quartet of friends as they prance through an empty Polish town seemingly unconcerned about the deadly flood about to overtake them.”

“Created under a ‘manifesto’ whose directives would make Lars von Trier shudder, this three-part film might look on paper like an exercise in forced hipness. Working under orders tall, whimsical (according to the manifesto, a stuffed animal must make an appearance no matter what) and surreal, Korine’s Lotus Community Workshop drops Val Kilmer in an alternate-universe existence as a BMX-riding motivational speaker with a fanny pack. Fedorchenko’s Russia-set Chronoeye spins the tale of a grumpy inventor whose noisy neighbor interrupts his time-travel experiments. And Kwiecinski’s eerily beautiful Fawns follows a quartet of friends as they prance through an empty Polish town seemingly unconcerned about the deadly flood about to overtake them.”

Acclaimed filmmaker Trinh T. Minh-ha ventures into the digital realm with her stunning feature, THE FOURTH DIMENSION, an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh's previous films, her film is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly "seeing," and the impact of video on image-making. 　　THE FOURTH DIMENSION is an elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light. 　　“Trinh T. Minh-ha’s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. In THE FOURTH DIMENSION, Trinh’s lyrical narration guides us through ‘Japan’s likeness,’ the perfected framing of the sacramental familiar.” - Steve Seid

Acclaimed filmmaker Trinh T. Minh-ha ventures into the digital realm with her stunning feature, THE FOURTH DIMENSION, an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh's previous films, her film is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly "seeing," and the impact of video on image-making. 　　THE FOURTH DIMENSION is an elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light. 　　“Trinh T. Minh-ha’s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. In THE FOURTH DIMENSION, Trinh’s lyrical narration guides us through ‘Japan’s likeness,’ the perfected framing of the sacramental familiar.” - Steve Seid

少女时代（Girls' Generation）是韩国SM娱乐有限公司于2007年推出的女子流行演唱团体，由金泰妍、郑秀妍、李顺圭、黄美英、金孝渊、权俞利、崔秀英、林允儿和徐珠贤9人组成 ，现以8人形式进行演艺活动。 2007年8月5日，少女时代发行首支单曲《再次重逢的世界》正式出道，并于11月1日发行第一张同名专辑《少女时代》 。2009年发行首张迷你专辑《Gee》在乐坛走红。2010年9月8日发行首张日语单曲《GENIE》在日本出道。2011年6月发行首张日语专辑《Girls' Generation》，并于2012年6月获得日本唱片工业协会百万专辑正式认证；同年10月19日发行第三张专辑《The boys》。2012年4月，少女时代首次推出小分队组合TaeTiSeo，发行迷你专辑《Twinkle》。2013年1月1日发行第四张专辑《I Got A Boy》。2014年2月24日发行第四张迷你专辑《Mr.Mr.》；同年9月30日，少女时代的经纪公司宣布成员郑秀妍因个人事业与少女时代的演艺事业相冲突而退出团体。2015年7月7日公开单曲《Party》的MV与音源，同年8月18日、19日连续两日公开第五张专辑《Lion Heart》[12] ；11月21至22日在首尔举办第四次单独演唱会“GIRLS’ GENERATION 4th TOUR Phantasia in SEOUL”。