一个患有慢性心脏病的孩子，用一种智慧而冷酷的方式谈论着自己的病情，直至痛苦和疲倦耗尽她所有的力量。

在我的家乡有个习俗，体弱多病的孩子会认一颗百年神树为“长辈”，十二岁之前每年去拜见一次，写下愿望挂在枝头，可以祈福孩童健康成长。于是带着童年回忆，与每次相逢时的感动，画下了这一封寄往远方的回信。 　　关于白炽耀眼的夏天，关于翻越庙宇拜访信仰的一场邂逅，还有耳边逐渐清晰的儿时的呼唤。 　　因为每次奔赴时的心情都没有褪色过， 　　所以——远方的、素昧平生却同样仍在奔跑的「你」，只要是同样的心情，我们终会在回响传达之时相逢。

在我的家乡有个习俗，体弱多病的孩子会认一颗百年神树为“长辈”，十二岁之前每年去拜见一次，写下愿望挂在枝头，可以祈福孩童健康成长。于是带着童年回忆，与每次相逢时的感动，画下了这一封寄往远方的回信。 　　关于白炽耀眼的夏天，关于翻越庙宇拜访信仰的一场邂逅，还有耳边逐渐清晰的儿时的呼唤。 　　因为每次奔赴时的心情都没有褪色过， 　　所以——远方的、素昧平生却同样仍在奔跑的「你」，只要是同样的心情，我们终会在回响传达之时相逢。

西江市女警冉咚咚在庙前街小超市击毙了挟持人质的歹徒，虽然受到了赞扬但对第一次射击真人的冉咚咚还是很大冲击，回到家丈夫慕达夫对她击毙歹徒的行为有些疑问引起了冉咚咚的反感。西江市发生了一起命案，钓友在江边发现一具女尸，警队开始调查被害人的身份，并将案件取名为“大坑案”。

西江市女警冉咚咚在庙前街小超市击毙了挟持人质的歹徒，虽然受到了赞扬但对第一次射击真人的冉咚咚还是很大冲击，回到家丈夫慕达夫对她击毙歹徒的行为有些疑问引起了冉咚咚的反感。西江市发生了一起命案，钓友在江边发现一具女尸，警队开始调查被害人的身份，并将案件取名为“大坑案”。

回南天的日子里，小姜总是重复梦到一扇门。一开始，它只在夜晚的梦里出现，后来连午间小憩都能看见，以至于闭眼即会浮现它的样子。这个特别的梦一度让她无法安眠，药物虽然使她正常的入睡，但那扇门在梦中依旧清晰地伫立在她的眼前。慢慢的，小姜开始好奇这扇门的由来，它总不是无端入梦，或许会有些特别的缘由。于是每梦见一次，她就会把这扇门画下来，一个月以后，这扇门已经十分清晰地显现在手帐本上了…

As video technology became more widely available in the early 1970s, many artists were drawn to the medium's immediacy and ease of reproduction, which allowed works to be shown on television or through other modes of distribution that bypassed the walls of museums or commercial galleries. Serra, known primarily for his large lead and steel sculptures, made a number of films and videos in the late 1960s and early 1970s. Holt, a pioneer of land art, also worked with film, video, and photography throughout her career. 　　In Boomerang—which was broadcast live on a TV station in Amarillo, Texas—Holt's words are fed back to her through headphones with a one-second delay. She describes the experience, in which her words are suspended in time and space, as "a world of double reflections and refractions." As her voice echoes back to her, she continues, "words become like things," disconnected from their individual meanings and from their contexts. This interferes with Holt's thought process and establishes a distance between the artist and her sense of self, an effect intensified when pre-recorded sound samples are played or when glitches in the broadcast cause momentary periods of silence.

The title says it all. The movements in this black-and-white animation are governed by an echo. The flow of images creates a chain of associations. A pot-bellied creature with a tiny face roams the world. There are also other creatures, similarly pot-bellied, with stilt-like arms. This gives them a mobility which affords them new points of view. The swamp provides shade for their heads, the rhythm of the tambourines makes their bellies sway. The film follows these faceless creatures with minimal movements which focus only on the essentials.

在《夏日》中，玄彬饰演的是建筑设计师，申敏儿则是的专栏作家，柳承范则是一名程序设计员，三个人可以称为 Yuppie-Young Urban Professional的肖像。玄彬，申敏儿，柳承范三个人每个人都有自己风格的爱情、友情，像我们日常生活中一样，快乐的上班，见面，离开，相爱，分别。

在《夏日》中，玄彬饰演的是建筑设计师，申敏儿则是的专栏作家，柳承范则是一名程序设计员，三个人可以称为 Yuppie-Young Urban Professional的肖像。玄彬，申敏儿，柳承范三个人每个人都有自己风格的爱情、友情，像我们日常生活中一样，快乐的上班，见面，离开，相爱，分别。