民国时期，渡头村妈祖玉像传人郭小妹（王宇饰）侠肝义胆、武艺高强，渔霸黄天纵（朱铁和饰）为得到妈祖玉像，放火烧了渡头村的渔船，将渔民们逼上绝路；名门望族的林陶再（陈庭威饰）为了救母、冲喜，为儿子林铭义（文熙饰）求娶郭小妹，郭小妹为了解救渔民，不得已嫁入林家。迎亲当晚，不想成亲的纨绔公子林铭义跟土匪里应外合，绑走自己，不想却被黄天纵将计就计，买通土匪来了个假戏真做。为解救新婚丈夫，郭小妹独闯匪巢，有勇有谋巧妙设计最终制服土匪、击败了黄天纵，解救出自己的丈夫。

民国时期，渡头村妈祖玉像传人郭小妹（王宇饰）侠肝义胆、武艺高强，渔霸黄天纵（朱铁和饰）为得到妈祖玉像，放火烧了渡头村的渔船，将渔民们逼上绝路；名门望族的林陶再（陈庭威饰）为了救母、冲喜，为儿子林铭义（文熙饰）求娶郭小妹，郭小妹为了解救渔民，不得已嫁入林家。迎亲当晚，不想成亲的纨绔公子林铭义跟土匪里应外合，绑走自己，不想却被黄天纵将计就计，买通土匪来了个假戏真做。为解救新婚丈夫，郭小妹独闯匪巢，有勇有谋巧妙设计最终制服土匪、击败了黄天纵，解救出自己的丈夫。 　　…

戏剧院的悲惨三级喜剧演员阿奇被瘟疫蚕食，然而他却幸存下来，变得目中无人和唯利是图，他许久，开国际玩笑，说冷笑话，大声谈论性事，对政治豪放厥词。阿奇还引诱自己的父亲提前退休后拿他的退休金恶意投资，最终还是全军覆没，这样像狗屎一样的人生，他在用自己的方式演绎一个社会中的普通人，然而把他放大来看，其实他只是社会中的一名艺人而已。

本集地平线节目中，自然学家David Attenborough带领我们探究地球是否正走向人口危机。

欢迎来到我们的拥挤世界 世界人口在不断增长，在接下来的四十年里，可能会超过九十亿。在这个精彩的节目中，著名自然学家和主持人大卫•艾登堡爵士将研究我们作为一个连续发展物种所面临的这个问题。从墨西哥到西班牙，中国到卢旺达，他采访了生态学家、人口统计学家、农民、工程师和从事计划生育的医生。他们为我们讲述应对人口增长要面临的巨大挑战。世界上每天有四十万人出生，大卫•艾登堡对此问道：地球上最多能生活多少人？人口控制是否应该成为我们每个人的义务？

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

旅役者

旅役者

After a late-night cup of coffee, vaudevillians Jo Hayden and Harry Palmer sit at a piano and work a song. Moments later, Jo realises she's found exactly what she wasn't looking for: a partner. And with Judy Garland as Jo and Gene Kelly as Harry, the partnership isn't just ideal. It's a film fan's dream come true. Kelly debuts and Garland dazzles in this Busby Berkeley-directed tale of a song-and-dance pair who take on tank towns, tough times and World War I while struggling for show-biz success. A hit parade of era tunes paces the film, including the wowser "Ballin' the Jack" and the sweetly harmonized title tune. Bursting with vitality and old-fashioned charm, "For Me And My Gal" is for the ages.