你的大脑像男人还是像女人那样思考是天生的吗？真的是女性更善谈，男性更不易动感情吗？你的第二和第四根手指的长度比例和这有什么关系？我们也许都习惯性地认为，男人和女人是一样的，但该系列片将会表明，男女是完全不同的。从人类刚刚出现时起，就已注定了这种不同。不仅如此，不是所有的男人都有男人的大脑，也不是所有的女人都有女人的大脑：“身体性别”和“大脑性别”并非同样的事。在生动有趣的三集节目中，讲述了性别差异的六大区域：情绪认知、同理心、交流、基本认知、竞争以及大脑解剖结构。科学家们将把真实生活中的人纳入测试当中。结果有的很有趣，有的也很刺激，这是一个发人深思，而又非常有趣的旅程，将会揭开有关性别定义的神秘面纱，揭示出令人惊讶的真相。我们即将发现“一点点的自信”如何能在伙伴关系中发挥重要作用，如何成为幸运儿。

男人总是无所顾忌，永远不会认输；而女人不能相信，女人笑一下就能摆平任何麻烦。两性不能融洽地相处，男人和女人是不同的物种吗？五个男人，五个女人，全世界最大规模的两性调查、秘密实验，和世界上第一种能改变大脑的药物。准备好探索两性真正的差异。本纪录片邀请了五男五女来参与一系列特别的测验。选出的测试小组尽可能包括社会各个阶层的人。志愿者知道他们在参与一个研究男女差异的节目，但是，他们不知道的是，在节目最后，有些人会完全改变对自己的认识。

Louis Theroux travels to San Francisco, where a group of pioneering medical professionals are helping children who say they were born in the wrong body to transition from boy to girl or girl to boy at ever-younger ages. 　　At the Child And Adolescent Gender Center at UCSF Hospital Louis meets children who have been diagnosed with gender dysphoria. Louis is told that children as young as three can show signs of rejecting the gender they were assigned at birth, leaving parents with a difficult dilemma - do they start transitioning a child who is still developing their own identity, or do they wait and risk making the change once their body has gone through the transformations of puberty? 　　It is a decision that can be the start of a complex series of medical interventions, from puberty blockers to hormone replacement therapy and eventually gender reassignment surgery. Louis spends time with children and their families as they negotiate their way along this life changing and emotional journey.

Louis Theroux travels to San Francisco, where a group of pioneering medical professionals are helping children who say they were born in the wrong body to transition from boy to girl or girl to boy at ever-younger ages. 　　At the Child And Adolescent Gender Center at UCSF Hospital Louis meets children who have been diagnosed with gender dysphoria. Louis is told that children as young as three can show signs of rejecting the gender they were assigned at birth, leaving parents with a difficult dilemma - do they start transitioning a child who is still developing their own identity, or do they wait and risk making the change once their body has gone through the transformations of puberty? 　　It is a decision that can be the start of a complex series of medical interventions, from puberty blockers to hormone replacement therapy and eventually gender reassignment surgery. Louis spends time with children and their families as they negotiate their way along this life changing and emotional journey.

Truman Capote's semi-autobiographical first novel about coming of age in the Deep South during the 1930s centers on 13-year-old Joel Sansom (David Speck), who reunites with his estranged father at the family's shabby plantation, where he must contend with his father's feisty mistress and a strange cousin. Against this less-than-ideal backdrop, Joel slowly matures into an upstanding young man.

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

简要介绍: 　　本系列将带我们一同去探索人类的性，男女怎么样的相互结合。这个专辑将谈到一夫一妻制、个性的平等、爱。。。细致入微地探讨人的角色——从没有过！ 　　01 - 差异和平等 　　男人看上去有男性味，女人长得像女人，Desmond Morris从进化论的角度为我们揭示这一切 　　02 - 性的语言 　　通过这集我们将了解到不同的文化下，两性之间传达爱的语言、信号是不同的 　　03 - 爱的模式 　　我们对配偶一生忠贞，这是生物学意义上的自然现象吗?我们的天性中是倾向于一夫一妻呢？还是倾向于一夫多妻或一妻多夫？ 　　04 - 人生的历程 　　在人生的每个阶段，我们的文明、风俗既使得两性分离，又进而使得他们融合 　　05 - 母亲的进退两难 　　在这集中，我们将会发现，城市的生活给人类带来的问题，社会的文化、习俗偏向于男孩优于女孩，在照顾小孩这个方面，不同的文化中的处理方式是多么的不同 　　06 - 性别的战争 　　从西方的婚礼典礼中，我们可以看出妇女是处于从属地位 　　以上介绍摘自： 　　http://lib.verycd.com/2006/03/10/0000093683.html