暂无剧情简介

暂无剧情简介

《翡翠歌星贺台庆》与观众阔别7年后强势回归，乐坛当时得令歌手再度聚头，分成男（红）、女（白）两组斗唱斗跳，争取总冠军殊荣，庆贺TVB 38周年。今次由「叻哥」陈百祥与「DO姐」郑裕玲担任两队领队兼大会司仪，刘德华、李克勤和容祖儿、杨千嬅分别出任两队队长。两队阵容也星光熠熠，陈奕迅、古巨基、何韵诗、张敬轩、薛凯琪、梁咏琪、Twins、余文乐；再加上一众乐坛生力军侧田、谢安琪、王菀之、方大同、卢巧音、官恩娜、黄伊汶、邓丽欣、方力申、Soler 、at 17……还有TVB几位演技、歌艺同样精湛的当家小生林峰、郑嘉颖、林保怡、陈豪及吴卓羲等。精彩对战项目包括「叻哥」大跳探戈及西班牙舞，梁咏琪和余文乐则反串演出；郑中基和李克勤「双龙栋笃唱」尽数乐坛「八卦」新闻；杨千嬅与一众女歌手共舞优美芭蕾；刘德华带领18位男歌手穿上苏格兰裙齐跳踢跶舞。除此之外，大会更邀请到首位在TVB献唱的歌手潘迪华及日本知名踢跶舞者HIDEBOH 也应邀作表演嘉宾。压轴还有刘德华邀来「五虎将」好兄弟苗侨伟、汤镇业和黄日华同台合唱，并重演台庆经典项目「心口碎大石」，惊心动魄！华仔的衣着品味更获现场观众赞赏，赢得「最突出造型奖」，只可惜男歌星队却失落奖项，由女歌星队夺得冠军锦旗。

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

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．

When starting an international relationship, we believe that there are no borders when it comes to love. However, while dating we face many obstacles such as linguistic and cultural differences. We wonder, “Who’s fault is this?” While there are no concrete answers when it comes to love and relationships, we aim to resolve some of these issues. We have 7 men and 7 women from different countries and different cultural backgrounds to share their opinions on love and relationships.