堕胎是什么样子的？什么样的图像塑造了我们对堕胎的看法？这些图像从何而来？桌面论文电影《盖帝堕胎图像》通过浏览照片、青少年杂志和真实堕胎经历的文件，探讨了德国和奥地利媒体是如何阐述堕胎话题的。它从21世纪初跳转到19世纪末，探寻女权主义知识，并与虚构人物对话。但有一个问题仍然存在：为什么没有人看镜头？

Masao Adachi's Datai (Abortion) is about a crazy gynaecologist who wants to liberate mankind from sexual problems by radically separating sex on the one hand and reproduction, which should be left to artificial wombs, on the other. For the opening scene Adachi used a birth scene from an older 16mm sex education film, either a pre-war osan eiga or a post-war basukon eiga. Datai is Adachi's first pink eiga movie.

Porcelain maker invites a guest to sell him chamber pots, however family problems cause interruptions.

Teenager Kiki runs away from home, angry at her mother Jane's profession as a back-street abortionist. For her daughter's sake, Jane retires and finds religion, repenting her sins. Months later, Kiki faints on the street and wakes up in hospital with Jane by her side. The last hope for Kiki is that Jane can return to her former profession...

圣彼得堡，俄罗斯。一个专门从事青少年晚期堕胎的诊所。年轻女孩们从后门进去，有时由妈妈或朋友陪着。但她们所有人都必须得独自经历这个过程。本片近距离并且中立地揭露了堕胎的真实情况，描述了在这个俄罗斯司空见惯的过程中纠结的抉择难题、道德责难、罪与赎的矛盾以及生离死别。

电影讲述主妇珍姐（白灵饰）为黑市堕胎师，客人来自各个阶层，包括年轻妈妈、亦有未成年少女。珍姐的十六岁女儿Kiki（伍咏诗 饰）就向她要求，希望珍姐待她十八岁之时可以将现有的单位改到自己名下。珍姐断言拒绝，因为在香港房屋就是最宝贵的财产，她宁与屋共存、不与亲共眠。　　其后，Kiki离家出走，投靠住在深圳的爸爸，珍姐到学校劝Kiki回家，但她没有理会珍姐。Kiki 以前曾经试过赶走在瘃堕胎的同龄女孩，珍姐指她靠堕胎才可以养活一家人，KiKi 认为母亲在践踏生命，两大吵一场。珍姐想到此处，决定转行，不再为人角胎，甚至加入教会，为了女儿改变自己。有日，Kiki 在街上晕倒，当她在医院苏醒时，她知道又再重回珍姐身旁 ... ...

这是一部聚焦创作行为的电影，影片中艺术家的情感状态以及其与周遭环境的关联，生动展现了整个创作过程直至最终成果。影片对艺术家的外在行为进行了细致精准的剖析：从自恋式的自我凝视，到对外界展开极富想象力的探寻，直至迎来辉煌瞬间——画面从黑白转为彩色，寓意着人类不再忍受痛苦，而是将其转化为纯粹的创作。

Without any sounds, dialogues and with unknown actors, the images are the focus of this film. Images that want to awake, to question determinant moments, state of a system's languages, the morality of deaths, the immobility, the silence, among other subjects. Shot at the height of the Brazilian military dictatorship, it is an affront to the most diverse types of repression in that period

在费城的一个堕胎求助热线，咨询师不停地接听那些试图终止妊娠但又无力负担的妇女的电话。在这部纪录片中，我们了解到经济耻辱和残酷的立法如何决定谁有权堕胎。

Art historian James Fox explores how the power of images has transformed the modern world.