The Phantom Museum was originally commissioned by the Wellcome Trust as a video installation for the British Museum exhibition Medicine Man: The Forgotten Museum of Henry Wellcome, which ran from June to November 2003. This provided an opportunity for the public to examine some of the rarer items in the extraordinary collection of American-born pharmaceutical pioneer Sir Henry Wellcome (1853-1936), who assembled over 125,000 medical artifacts, many of which are currently stored in London's Science Museum and normally viewable by appointment only. 　　Typically, the Quay Brothers' film consists more of a series of impressions of the Wellcome collection than a guided tour, their approach summed up by its subtitle 'Random Forays into Sir Henry Wellcome's Medical Collection'. A linking device (shot on grainy black-and-white Super 8 stock) involves a man clad in a black suit and white gloves ascending staircases, warlking along corridors, switching on lights and investigating rooms full of cabinets bearing tantalising labels ('Shrunken Heads - Scalp'). 　　Interspersed with these are much sharper colour sequences, depicting various objects in Wellcome's collection. Sometimes they're displayed as static museum pieces, sometimes rotated, and occasionally animated. Many of the exhibits are explicitly sexualised, from the diagram demonstrating the use of a chastity belt (next to an example of the real thing) to tender Oriental sculptures of human lovemaking. Many of the collection's many dolls come apart to reveal their anatomically-correct innards - one female body has a baby in her walnut-sized womb, connected via an umbilical piece of string. 　　Prosthetic arms and legs abound, in one case attached to a live human body, while there are plenty of dead ones glimpsed in the collection's storerooms, their lipless mouths fixed in a permanent grin. If the film is often unsettling, this is less because of the Quays' proven feel for the uncanny than for the way the Wellcome collection itself inescapably exploits our most fundamental fears: of birth, sex, mutilation and death. 　　The Quays originally edited the film to pre-existing recordings of the music of Czech composer Zdenek Liska (previously featured in The Cabinet of Jan Svankmajer in 1984), but were unable to clear the necessary rights. In the final version, filmmaker-musician Gary Tarn provided a plangent semi-electronic accompaniment, occasionally interspersed with sound effects, notably in the shot of an old birthing chair and forceps being pressed into service on an invisible mother-to-be, whose baby can be heard crying as it emerges.

The Phantom Museum was originally commissioned by the Wellcome Trust as a video installation for the British Museum exhibition Medicine Man: The Forgotten Museum of Henry Wellcome, which ran from June to November 2003. This provided an opportunity for the public to examine some of the rarer items in the extraordinary collection of American-born pharmaceutical pioneer Sir Henry Wellcome (1853-1936), who assembled over 125,000 medical artifacts, many of which are currently stored in London's Science Museum and normally viewable by appointment only. 　　Typically, the Quay Brothers' film consists more of a series of impressions of the Wellcome collection than a guided tour, their approach summed up by its subtitle 'Random Forays into Sir Henry Wellcome's Medical Collection'. A linking device (shot on grainy black-and-white Super 8 stock) involves a man clad in a black suit and white gloves ascending staircases, warlking along corridors, switching on lights and investigating rooms full of cabinets bearing tantalising labels ('Shrunken Heads - Scalp'). 　　Interspersed with these are much sharper colour sequences, depicting various objects in Wellcome's collection. Sometimes they're displayed as static museum pieces, sometimes rotated, and occasionally animated. Many of the exhibits are explicitly sexualised, from the diagram demonstrating the use of a chastity belt (next to an example of the real thing) to tender Oriental sculptures of human lovemaking. Many of the collection's many dolls come apart to reveal their anatomically-correct innards - one female body has a baby in her walnut-sized womb, connected via an umbilical piece of string. 　　Prosthetic arms and legs abound, in one case attached to a live human body, while there are plenty of dead ones glimpsed in the collection's storerooms, their lipless mouths fixed in a permanent grin. If the film is often unsettling, this is less because of the Quays' proven feel for the uncanny than for the way the Wellcome collection itself inescapably exploits our most fundamental fears: of birth, sex, mutilation and death. 　　The Quays originally edited the film to pre-existing recordings of the music of Czech composer Zdenek Liska (previously featured in The Cabinet of Jan Svankmajer in 1984), but were unable to clear the necessary rights. In the final version, filmmaker-musician Gary Tarn provided a plangent semi-electronic accompaniment, occasionally interspersed with sound effects, notably in the shot of an old birthing chair and forceps being pressed into service on an invisible mother-to-be, whose baby can be heard crying as it emerges.

在原梵蒂冈博物馆馆长Antonio Paolucci的带领下，前往意大利最美的博物馆一探究竟

在原梵蒂冈博物馆馆长Antonio Paolucci的带领下，前往意大利最美的博物馆一探究竟

广州火车站站前派出所，一个万象生的地方，在这里你能看到社会的各个折射面。

广州火车站站前派出所，一个万象生的地方，在这里你能看到社会的各个折射面。

第二年（2011）春运，我们一如既往回到这个派出所…… 　　除了那几位老“差人”，上一部片中的“新疆人”、“来广州混的少年”、“忏悔的青年”……没有一位再次出现。 　　派出所，普通人一生也难得进去一次，可也有人一个春运要进去好几次。故事就从一些总要在这进进出出的人说起…… 　　影片似乎仍然是没有重点，结构松散，主题混沌。 　　其实，人本身就是一矛盾体，由人组成的社会注定也是如此。

第二年（2011）春运，我们一如既往回到这个派出所…… 　　除了那几位老“差人”，上一部片中的“新疆人”、“来广州混的少年”、“忏悔的青年”……没有一位再次出现。 　　派出所，普通人一生也难得进去一次，可也有人一个春运要进去好几次。故事就从一些总要在这进进出出的人说起…… 　　影片似乎仍然是没有重点，结构松散，主题混沌。 　　其实，人本身就是一矛盾体，由人组成的社会注定也是如此。