中年男子振满拥有让人羡慕的一切，他自己身材魁梧样子不错还是名牌大学毕业，待人接物颇有一套，他拥有漂亮而能干的妻子秀姬和一个聪明可爱的女儿。不仅如此，振满的职业也颇为新鲜，他是一个专职男主妇，并且这工作他已经做了6年，可以说很有些经验。某日他突然脑热，将秀姬给丈人准备的手术费投资到一个有去无回的项目中去，给他的家庭带来了危机。离丈人的手术只越来越近，振满必须在3周内酬到这笔钱，于是他接受了朋友英承的建议，参加以主妇为对象的竞赛，赢得3千万韩元。没想到他果真赢得了比赛，获得了那3千万的韩元，但危机也随之而来……

中年男子振满拥有让人羡慕的一切，他自己身材魁梧样子不错还是名牌大学毕业，待人接物颇有一套，他拥有漂亮而能干的妻子秀姬和一个聪明可爱的女儿。不仅如此，振满的职业也颇为新鲜，他是一个专职男主妇，并且这工作他已经做了6年，可以说很有些经验。某日他突然脑热，将秀姬给丈人准备的手术费投资到一个有去无回的项目中去，给他的家庭带来了危机。离丈人的手术只越来越近，振满必须在3周内酬到这笔钱，于是他接受了朋友英承的建议，参加以主妇为对象的竞赛，赢得3千万韩元。没想到他果真赢得了比赛，获得了那3千万的韩元，但危机也随之而来……

《跨代答题王》是一档代际互动答题类棚综，每期三组家庭参与和两个年代的流行记忆有关的答题，旨在通过全家人共同参与这场家庭答题秀，革新代际沟通新形式，回溯文化记忆，唤起不同年代、不同层次观众的情感共鸣和文化认同。节目既不失趣味性的外衣，又具备了输出正向价值观和文化认同感的教育内核。

《跨代答题王》是一档代际互动答题类棚综，每期三组家庭参与和两个年代的流行记忆有关的答题，旨在通过全家人共同参与这场家庭答题秀，革新代际沟通新形式，回溯文化记忆，唤起不同年代、不同层次观众的情感共鸣和文化认同。节目既不失趣味性的外衣，又具备了输出正向价值观和文化认同感的教育内核。

喜，便是喜悦，各种各样的喜悦。 有开心之喜，有感动之喜，有兴奋之喜，有善良之喜，有 期盼之喜，更有收获之喜......

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作