我的一個月有時是三十天、二十八天或四十五天。我的一年有時是十二個月，有時是十四個月。每個月我們帶著煩躁迎來痛楚、送走那些名字各異的碎片殘骸，並且使用一種只有我們才懂的、隱晦的語言交換溝通。我知道，那些痕跡與殘骸，都曾經是我。

我的一個月有時是三十天、二十八天或四十五天。我的一年有時是十二個月，有時是十四個月。每個月我們帶著煩躁迎來痛楚、送走那些名字各異的碎片殘骸，並且使用一種只有我們才懂的、隱晦的語言交換溝通。我知道，那些痕跡與殘骸，都曾經是我。

将来のため恋人を捨てお嬢様と結婚した苦学生と、女給と駆け落ちしたお坊ちゃま。この二組の夫婦に、元カノや実家が絡んで展開するコミカルかつシニカルなメロドラマ。ロマンチストの上原謙と実利主義者の佐分利信もはまり役だが、元女給と見下げる相手に啖呵をきる桑野通子がカッコいい！

将来のため恋人を捨てお嬢様と結婚した苦学生と、女給と駆け落ちしたお坊ちゃま。この二組の夫婦に、元カノや実家が絡んで展開するコミカルかつシニカルなメロドラマ。ロマンチストの上原謙と実利主義者の佐分利信もはまり役だが、元女給と見下げる相手に啖呵をきる桑野通子がカッコいい！

本剧改编自日本超人气网络blog作品“鬼嫁日记”，描述了一种独特的“大老婆与小丈夫”全新型夫妻关系。所谓“鬼嫁”，就是指每天都欺负丈夫的像魔鬼一样的霸道妻子。上班族山崎一马来自一个三口之家，他的妻子早苗（观月亚理莎 饰）是一个看似贤妻良母的美女，她为人开朗热情，对邻居也和蔼亲切。事实上，在家里她是个任性强势、任意使唤丈夫的野蛮老婆。山崎一马是个善良软弱的好好先生，平日里饱受老婆早苗的欺压，却敢怒不敢言，只敢晚上偷偷摸摸地在blog里大吐苦水，写揭发老婆恶行的“鬼嫁日记”。 　　与此同时，山崎一家搬进了新房子，他们因此认识了不少邻居，其中包括两对年轻夫妻。他们的夫妻相处之道各不相同，早苗的出现，会对他们产生怎么样的影响？

本剧改编自日本超人气网络blog作品“鬼嫁日记”，描述了一种独特的“大老婆与小丈夫”全新型夫妻关系。所谓“鬼嫁”，就是指每天都欺负丈夫的像魔鬼一样的霸道妻子。上班族山崎一马来自一个三口之家，他的妻子早苗（观月亚理莎 饰）是一个看似贤妻良母的美女，她为人开朗热情，对邻居也和蔼亲切。事实上，在家里她是个任性强势、任意使唤丈夫的野蛮老婆。山崎一马是个善良软弱的好好先生，平日里饱受老婆早苗的欺压，却敢怒不敢言，只敢晚上偷偷摸摸地在blog里大吐苦水，写揭发老婆恶行的“鬼嫁日记”。 　　与此同时，山崎一家搬进了新房子，他们因此认识了不少邻居，其中包括两对年轻夫妻。他们的夫妻相处之道各不相同，早苗的出现，会对他们产生怎么样的影响？

5岁的昊昊和8岁的宙宙大部分时间都在深圳的华强北电子市场度过。一年前，姐妹俩的父母移居到这个城市，在市场九楼开了一家商店。在女孩们的眼中，没有灵魂的电子世界仿佛是个充满鬼怪故事的宇宙，为她们的生活平添了几分奇幻。 　　导演雷沁圆在画外音中述说着自己的思绪：她的童年也在一家电子产品商店度过。深圳是她的家乡，但她总想去往别处，将一切抛之脑后。 　　昊昊和宙宙的情况则正好相反。她俩不知疲倦地摆弄着盒子，穿梭于楼梯井间，躲进空空荡荡的陈列柜。尽管这个空间并无生命，对孩子们来说，它就像是家园，她们拥有绝对居住权与继承权的星球。与此同时，外面的世界雨雾飘摇，似乎充满敌意、遥不可及。

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