“Peter Hutton is a still photographer that puts pictures into motion or it might be more apt to say that Peter Hutton is a motion picture maker that makes them still. His films are images, presented like slides, no inherent story, no specific connection other than local proximity. His camera remains locked down, his gaze intensely fixated on a particular setting as he allows time to unwind before the lens. The moments he captures are ones of small change, but profound beauty. 　　Skagafjördur is Hutton’s latest work. Filmed in black and white and color, this thirty-three silent film captures the panoramic splendor of Iceland’s desolate landscapes. Hutton’s camera records atmospheric changes – mist, wind, the breaking of light through clouds, the simple things that have helped define and shape the land. With a playful sense of scale he shows a houses in the shadow of an impossibly huge mountain. He shows the land lost in a sea of shimmering water. Most images are devoid of humans, a strong contrast to Hutton’s earlier work in New York city. Iceland sits alone nearly untouched by human hands. Small instances of human interaction – a telephone pole here, a lamppost there, and the curious presence of a photographer disturbs the disquieting beauty and meditative quality of the film and the land it documents. 　　If film is to survive the next century, if all is not lost to digital image making, it will be due to artists such as Peter Hutton. This is not to say that Hutton’s work could not be adapted to the ever improving field of digital cinema, but it is in his form and his aesthetic that I can see a defense for film’s existence. The early portion of Skagafjördur – the part shot in black and white – possesses a look that can only be found in works shot on film. It has a timeless appearance, full of depth, texture, contrast and grain. It’s the look of history. When he gets to the color portion of his film Hutton loses the wonder of the timeless image. The blue skies overshadow the earthtoned landscapes. These are images as fresh as yesterday. Instances of brilliance abound in the latter half of the film, but it becomes harder to argue that Hutton’s work must be made with film. 　　In 2004 Peter Hutton is a still photographer/filmmaker still making films. For himself and a few others working well outside the mainstream of narrative filmaking a forgiveness can be granted. Hutton’s work lends itself to the hypnotic mechanisms of a film projector. It’s no wonder so many young students nodded off during the screening. Lulled or bored to sleep by each passing frame or the dull sounds of the projector, clicking away at the back of the room, Hutton’s work demanded too much attention from an audience who equates cinema with television, not painting, or drawing, or ballet, or anything else you might see in hushed environment and not a smoky bar. Hutton’s latest film is not only important because of what he is documenting, but because he is utilizing film in the same way an artist might use paints or charcoals to capture reality – that is to say outdated. Perhaps film will go the way of portrait painting, a practice long since abandoned as a way of documenting the image of a person. Perhaps it will be resigned to special theaters, college classrooms, and art museums – is that so bad? As we have stopped picking up a paintbrush to recreate reality and as we have grown to see photographs in black and white as being more “artistic”, we may find that it is no longer necessary to shoot all our movies on film. We may soon reach a point where we can leave film in the hands of the artists, and not the entertainers.”

在现世与彼世之间的三途之川，栖息着妖怪外道众。世代与外道众战斗的侍·志叶家的当主，被称作シンケンレッド的志葉丈瑠，每日都在与外道众的尖兵·ナナシ一伙展开战斗。察觉到外道众有进一步侵攻迹象的志叶家的随从日下部彦馬，向丈瑠进言召集家臣一同对抗外道众，但丈瑠因对在现代社会以殿样身份凌驾于他人之上感到不快，拒绝了这个提议。 某一天，外道众的干部们终于苏醒，开始对现世发动全面袭击。认为时机成熟的彦馬擅自召集了志叶家臣培养的四名年轻人。丈瑠虽不情愿，但还是同意让他们成为伙伴，シンケンジャー与外道众的漫长战斗就此拉开帷幕。

将书写之文字所蕴含的力量具现化的秘术「文字之力」，在300多年的时间里，世世代代继承这个的是武士一族的后裔，由担任组织首领的志叶家和其家臣池波家、白石家、谷家、花织家选拔的人们，以及后来成为伙伴的一名青年构成，与现代复活的三途川的怪物·外道众对决，肩负着守护人类和平的使命。登场时，对敌人说的话是“天下御免的侍战队！真剑者参上！”。

快盗战队变身警察战队？

蕴藏着足以毁灭世界的力量的秘宝「Lupin Collection（鲁邦珍藏）」，就在这宝藏被异世界的敌人・Gangler抢夺的时候，2支战队行动起来！ 　　以夺回珍藏为目标，轻巧在空中舞动的「快盗战队鲁邦连者」！ 　　以打倒Gangler为心愿，奔走在正义之道的「警察战队巡逻连者」！ 　　超级战队系列史上初2支战队同时登场！！ 　　前所未有冲撃的战斗，现正揭开序幕⋯！

蕴藏着足以毁灭世界的力量的秘宝「Lupin Collection（鲁邦珍藏）」，就在这宝藏被异世界的敌人・Gangler抢夺的时候，2支战队行动起来！ 　　以夺回珍藏为目标，轻巧在空中舞动的「快盗战队鲁邦连者」！ 　　以打倒Gangler为心愿，奔走在正义之道的「警察战队巡逻连者」！ 　　超级战队系列史上初2支战队同时登场！！ 　　前所未有冲撃的战斗，现正揭开序幕⋯！

范道大也因其独到的创意和压倒性的机械工程知识技术，名声大噪。某一天，他与来自宇宙的车型机器人“奔多里奥·奔德拉斯”相遇了。谁知，袭击了其他星球的大宇宙侵略大走力团“哈袭利安”直属干部突然来袭！大也和情报收集专家鸣田射士郎，专业驾驶员志布户未来一起组成了奔奔者，随后，阿久濑锭和振骑玄蕃也加入进来，5人一起同来自宇宙的威胁“哈袭利安”战斗。

本作围绕人类与机器人共同生活的世界展开，讲述了青年与机界生命体们为了保护地球，勇敢对抗邪恶势力的故事。 在机器人与人类友好生存的日常中，突然出现了一群侵略地球的机界生命体。主人公五色田介人发誓要做世界上从未有人做过的大事，他偶然间拿到了父母留下的齿轮机关枪和战队齿轮，变身为“全开凯撒”，与四名机界生命体伙伴一同开启了对抗敌人、守卫地球的旅途。

事情发生的非常突然，‘五连者’的世界，‘兽连者’的世界，‘煌辉者’的世界......，所有超级战队的世界，以及‘机界机器人（キカイノイド）’的世界‘机械托比亚（キカイトビア）’，通通遭到‘机械托比亚王朝托吉铁克（キカイトピア王朝トジテンド）’使用‘封闭齿轮（トジルギア）’一一收入囊中。 　　仅剩余最后的平行世界，但因意外导致‘机械托比亚’与‘这个世界’产生融合，经过1个月后，‘机械托比亚王朝托吉铁克’迟迟无法将这个世界收入囊中，所以决定改用侵略的方式占领，而与人类所在世界融合的‘机界机器人’遇到1名人类‘五色田介人’，共同合作阻挡‘机械托比亚王朝托吉铁克’的侵略。 　　‘五色田介人’使用双亲制作的秘密道具‘齿轮机关枪（ギアトリンガー）’和双亲所发现的平行时空里的超级战队，利用各超级战队的力量所制作出的‘战队齿轮（センタイギア）’进行战斗。 　　充满正义之心的1名‘人类’与4名‘机界机器人’变身成‘全界者’一同对抗‘机械托比亚王朝托吉铁克’，前所未有的超级战队就此拉开序幕。

"本作围绕人类与机器人共同生活的世界展开，讲述了青年与机界生命体们为了保护地球，勇敢对抗邪恶势力的故事。 在机器人与人类友好生存的日常中，突然出现了一群侵略地球的机界生命体。主人公五色田介人发誓要做世界上从未有人做过的大事，他偶然间拿到了父母留下的齿轮机关枪和战队齿轮，变身为“全开凯撒”，与四名机界生命体伙伴一同开启了对抗敌人、守卫地球的旅途。"