疯癫和尚本为佛祖八百罗汉之一，他游历四方造福百姓。弥勒佛有一宝贝如意乾坤袋袋，此袋子唯有装过人间七情六欲才算圆满。弥勒佛随手一挥袋子落入人间化身空空儿度百劫历世事来装载世间人性以求功德圆满。 　　疯癫和尚一觉醒来世间已过十年，他找到空空儿开始对空空儿的一番点化和教导，然而另一名黑暗导师沙魔却轻而易举得将空空儿引上歧途。疯癫和尚与少年空空儿开始了寻找迷失的自我和感悟生命意义的一段奇幻历程……

疯癫和尚本为佛祖八百罗汉之一，他游历四方造福百姓。弥勒佛有一宝贝如意乾坤袋袋，此袋子唯有装过人间七情六欲才算圆满。弥勒佛随手一挥袋子落入人间化身空空儿度百劫历世事来装载世间人性以求功德圆满。 　　疯癫和尚一觉醒来世间已过十年，他找到空空儿开始对空空儿的一番点化和教导，然而另一名黑暗导师沙魔却轻而易举得将空空儿引上歧途。疯癫和尚与少年空空儿开始了寻找迷失的自我和感悟生命意义的一段奇幻历程……

影片讲述了阜县妖孽横行，县上的孩子不断离奇失踪，疯癫和尚受命下界驱魔降妖，正巧碰上地府判官钟馗来人间收魂。二人嬉笑怒骂斗嘴斗法，在爆笑不断的接连乌龙中引出了神秘银面人，还结识了美艳绝伦的客栈老板娘和凭借一张嘴就能把人“说死”的怪异书生，牵扯出一段前缘未尽痴缠几世的人狐恋。千年妖狐日日行善却为何屡屡炼鬼？神秘银面人到底是谁？佛、道、妖、魔聚首阜县，一场杀机四起的混战即将开启，疯癫和尚又将如何应对……

影片讲述了阜县妖孽横行，县上的孩子不断离奇失踪，疯癫和尚受命下界驱魔降妖，正巧碰上地府判官钟馗来人间收魂。二人嬉笑怒骂斗嘴斗法，在爆笑不断的接连乌龙中引出了神秘银面人，还结识了美艳绝伦的客栈老板娘和凭借一张嘴就能把人“说死”的怪异书生，牵扯出一段前缘未尽痴缠几世的人狐恋。千年妖狐日日行善却为何屡屡炼鬼？神秘银面人到底是谁？佛、道、妖、魔聚首阜县，一场杀机四起的混战即将开启，疯癫和尚又将如何应对……

GRB Entertainment公司制作的一个电视纪录片系列，1994年首播，至1999年共制作6季、70集。 　　本纪录片系列讲述了电影特效的方方面面，从基本不涉及到花费的特效化妆，到百万美元预算的电脑特效，各个细节详尽展现。每集均有一个主题，通过阐述特效创意、访谈等手法展现了各种常见的电影特效的制作，并且都会联系到当前正在制作或上映放映过的典型影片....（译自IMDB） 　　注：CCTV曾经引进此片，译制后播出，你可能对介绍“星球大战”里的模型的那集印象深刻.... 8-)

GRB Entertainment公司制作的一个电视纪录片系列，1994年首播，至1999年共制作6季、70集。 　　本纪录片系列讲述了电影特效的方方面面，从基本不涉及到花费的特效化妆，到百万美元预算的电脑特效，各个细节详尽展现。每集均有一个主题，通过阐述特效创意、访谈等手法展现了各种常见的电影特效的制作，并且都会联系到当前正在制作或上映放映过的典型影片....（译自IMDB） 　　注：CCTV曾经引进此片，译制后播出，你可能对介绍“星球大战”里的模型的那集印象深刻.... 8-)

电影内容大概是有姐姐寻找失散的弟弟，里面有两个日本人，一个道士和受他指使的女鬼，中间的内容记得不是很清楚了，不过故事结局好像是那个弟弟帮姐姐去一间布满红线机关的屋子拿宝物，不小心碰到红线红线跟着他，最后炸死了。

电影内容大概是有姐姐寻找失散的弟弟，里面有两个日本人，一个道士和受他指使的女鬼，中间的内容记得不是很清楚了，不过故事结局好像是那个弟弟帮姐姐去一间布满红线机关的屋子拿宝物，不小心碰到红线红线跟着他，最后炸死了。

Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governorgeneral, the engineer, the doctor's wife, the wicked major, the corporal of the guard. 　　The roots of the Hauka lie in traditional possession cults common among the Songhay and Djerma peoples of the Niger River basin. Gifted men and women may enter trance and become possessed by any of a number of strong gods, such as Dongo, god of thunder and the sky.Supplicants consult the god through the trancing medium and receive advice about their problems, cures for diseases, comfort and support, or reprimands for their wrongdoings. Like these traditional possession cults, the Hauka sect co-existed with Islam and incorporated many Islamic saints and heroes into its rituals. Most of its adherents were Muslims. 　　Hauka first appeared in Niger, it is thought, in the person of a former soldier who participated in the savage battles of the second German offensive of World War I in 1917 and 1918, in which West African troops were decimated despite their spectacular performance. This soldier made the pilgrimage to Mecca and returned to Niger in the 1920s. In his village, in Rouch's account, he found the people "doing a traditional dance and the soldier was possessed, very violently possessed, and while possessed he said 'I am the avant-garde of the new gods who are coming from Malia [the Red Sea]. My name is Governor Malia and I am the first of the new gods who are coming and they are the gods of strength'." 　　The Hauka were quickly suppressed by the French authorities in Niger, with the support of traditional chiefs and priests who feared the popularity of the new movement and its challenge to established authority. But the Hauka cult spread, even within the jail walls, and by 1935 the British administration in Ghana again attempted to suppress it and to jail the cultists. Fires broke out in response throughout Accra, and eventually there was an agreement that Hauka priests would limit their ceremonies to certain places and to Saturdays and Sundays. This was still the case in 1954 when Rouch filmed Les Maitres Fous, which was banned by the colonial government in 1955. 　　The Hauka movement was a phenomenon of the colonial era. After the independence of Ghana in 1957, migration was controlled and many Hauka who had settled in Accra returned to Niger. Niger itself gained independence three years later, and the Hauka began to subside and to be absorbed into the traditional religious system. Dongo, for example, the old god of thunder, is now considered the father of the Hauka. As Rouch has pointed out, "there was no more colonial power and there never was a Hauka called Kwame N'krumah." The events filmed represent the end of the Hauka development. Today the film is shown in the villages of Ghana and in the Niger Cultural Center. 　　The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.

Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governorgeneral, the engineer, the doctor's wife, the wicked major, the corporal of the guard. 　　The roots of the Hauka lie in traditional possession cults common among the Songhay and Djerma peoples of the Niger River basin. Gifted men and women may enter trance and become possessed by any of a number of strong gods, such as Dongo, god of thunder and the sky.Supplicants consult the god through the trancing medium and receive advice about their problems, cures for diseases, comfort and support, or reprimands for their wrongdoings. Like these traditional possession cults, the Hauka sect co-existed with Islam and incorporated many Islamic saints and heroes into its rituals. Most of its adherents were Muslims. 　　Hauka first appeared in Niger, it is thought, in the person of a former soldier who participated in the savage battles of the second German offensive of World War I in 1917 and 1918, in which West African troops were decimated despite their spectacular performance. This soldier made the pilgrimage to Mecca and returned to Niger in the 1920s. In his village, in Rouch's account, he found the people "doing a traditional dance and the soldier was possessed, very violently possessed, and while possessed he said 'I am the avant-garde of the new gods who are coming from Malia [the Red Sea]. My name is Governor Malia and I am the first of the new gods who are coming and they are the gods of strength'." 　　The Hauka were quickly suppressed by the French authorities in Niger, with the support of traditional chiefs and priests who feared the popularity of the new movement and its challenge to established authority. But the Hauka cult spread, even within the jail walls, and by 1935 the British administration in Ghana again attempted to suppress it and to jail the cultists. Fires broke out in response throughout Accra, and eventually there was an agreement that Hauka priests would limit their ceremonies to certain places and to Saturdays and Sundays. This was still the case in 1954 when Rouch filmed Les Maitres Fous, which was banned by the colonial government in 1955. 　　The Hauka movement was a phenomenon of the colonial era. After the independence of Ghana in 1957, migration was controlled and many Hauka who had settled in Accra returned to Niger. Niger itself gained independence three years later, and the Hauka began to subside and to be absorbed into the traditional religious system. Dongo, for example, the old god of thunder, is now considered the father of the Hauka. As Rouch has pointed out, "there was no more colonial power and there never was a Hauka called Kwame N'krumah." The events filmed represent the end of the Hauka development. Today the film is shown in the villages of Ghana and in the Niger Cultural Center. 　　The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.