江户时代的一家三口搬入了新居所，奇怪的是家中的一面墙上有个奇怪的洞，小女儿总是感觉到洞里有些不寻常的东西存在，于是他们想要把洞堵上……

江户时代的一家三口搬入了新居所，奇怪的是家中的一面墙上有个奇怪的洞，小女儿总是感觉到洞里有些不寻常的东西存在，于是他们想要把洞堵上……

一只巨大的神秘魔化魍突然出现在海边，它直接攻击海边的游客。响叔收到消息后，带着明日梦前往海边，与魔化魍发生战斗。谁知道响鬼不敌，被打成重伤。 明日梦与势地郎找出对付魔化魍的办法，开始查阅古代资料。结果，明日梦在一本战国时代的文献里，居然发现了自己的名字。 “猛士”的起源，古与今的交织，远古的回忆就此展开！这只神秘的魔化魍名叫大蛇，在古代就已经出现了。有一个村庄，长期受到大蛇的迫害。村里的人们需要定期送上被选中的祭品，否则就会受到魔化魍的怒火。村里有名少年也叫明日梦，他的青梅竹马名叫一重。没想到一重被选中了，一重非常害怕。明日梦为了一重不被献祭，他决定去寻找传说的中“鬼”，借助鬼的力量打败大蛇。 明日梦在另一座村庄里，成功找到了歌舞鬼。歌舞鬼答应明日去对付大蛇，但是光凭歌舞鬼一个人的力量是不够的。歌舞鬼需要找来更多的帮手才能对付大蛇，于是，众人踏上了寻找其他鬼的道路。

一只巨大的神秘魔化魍突然出现在海边，它直接攻击海边的游客。响叔收到消息后，带着明日梦前往海边，与魔化魍发生战斗。谁知道响鬼不敌，被打成重伤。 明日梦与势地郎找出对付魔化魍的办法，开始查阅古代资料。结果，明日梦在一本战国时代的文献里，居然发现了自己的名字。 “猛士”的起源，古与今的交织，远古的回忆就此展开！这只神秘的魔化魍名叫大蛇，在古代就已经出现了。有一个村庄，长期受到大蛇的迫害。村里的人们需要定期送上被选中的祭品，否则就会受到魔化魍的怒火。村里有名少年也叫明日梦，他的青梅竹马名叫一重。没想到一重被选中了，一重非常害怕。明日梦为了一重不被献祭，他决定去寻找传说的中“鬼”，借助鬼的力量打败大蛇。 明日梦在另一座村庄里，成功找到了歌舞鬼。歌舞鬼答应明日去对付大蛇，但是光凭歌舞鬼一个人的力量是不够的。歌舞鬼需要找来更多的帮手才能对付大蛇，于是，众人踏上了寻找其他鬼的道路。

《紙盒藏屍（上）》：一天早上，在跑馬地的路邊，一個清潔婆婆（陳立品 飾）發現一個電視機紙皮箱被棄置在路邊，查看之下竟然發現裏面藏有一個少女的屍體。警方接報到場，先由法醫小組在屍體身上蒐證，之後由兇殺組探員負責調查。領導調查的陸督察（蕭亮 飾）先跟從一般查案程序到發現屍體地點附近蒐證，之後等候政府化驗所的人員和法醫（郭德信 飾）提供進一步物質分析，再配對案發地點附近所出現的物質，發現一家雪糕店可能牽涉入案件之中…… 　　主要演員：蕭亮、麥子雲 　　編劇：張堅庭、張德霖 　　導演：錢鳴章 　　監製：張敏儀 　　《紙盒藏屍（下）》：經過兇殺組和法醫的多次合作，從科學鑒證的角度找尋到多種證據，證明這件紙盒藏屍體案跟雪糕店內的一個夜班員工凌永堅（麥子雲 飾）有密切關係。可是，從警方的跟蹤觀察，以致心理學家的分析，都看不出他有什麼動機和嫌疑行兇。毫無頭緒之下，調查一度陷於困局。後來，化驗所傳來電話，領導調查的陸督察立刻趕到化驗所，再三比對化驗證物後，似乎出現破案的生機…… 　　主要演員：蕭亮、麥子雲 　　編劇：張堅庭、張德霖 　　導演：錢鳴章 　　監製：張敏儀

《紙盒藏屍（上）》：一天早上，在跑馬地的路邊，一個清潔婆婆（陳立品 飾）發現一個電視機紙皮箱被棄置在路邊，查看之下竟然發現裏面藏有一個少女的屍體。警方接報到場，先由法醫小組在屍體身上蒐證，之後由兇殺組探員負責調查。領導調查的陸督察（蕭亮 飾）先跟從一般查案程序到發現屍體地點附近蒐證，之後等候政府化驗所的人員和法醫（郭德信 飾）提供進一步物質分析，再配對案發地點附近所出現的物質，發現一家雪糕店可能牽涉入案件之中…… 　　主要演員：蕭亮、麥子雲 　　編劇：張堅庭、張德霖 　　導演：錢鳴章 　　監製：張敏儀 　　《紙盒藏屍（下）》：經過兇殺組和法醫的多次合作，從科學鑒證的角度找尋到多種證據，證明這件紙盒藏屍體案跟雪糕店內的一個夜班員工凌永堅（麥子雲 飾）有密切關係。可是，從警方的跟蹤觀察，以致心理學家的分析，都看不出他有什麼動機和嫌疑行兇。毫無頭緒之下，調查一度陷於困局。後來，化驗所傳來電話，領導調查的陸督察立刻趕到化驗所，再三比對化驗證物後，似乎出現破案的生機…… 　　主要演員：蕭亮、麥子雲 　　編劇：張堅庭、張德霖 　　導演：錢鳴章 　　監製：張敏儀

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。