Kyz-Zhibek - Kazakh poetic folk legend of the 16th century, tells about the period in the Kazakh nation when the people suffered from bloody feuds. In those times each province of the Kazakh nation had its own Khan and each tried to supersede the other. The love story of Tolegen, the brave warrior, and the beauty Zhibek ends tragically because of inter-family strife. Tolegen is foully murdered by Bekejan (the batyr, or nobleman, of the rival family), who earlier strived for the hand of Zhibek. Zhibek commits suicide after learning about the death of Tolegen. In 1970 Kazakhfilm made a film based on the legend. 　　In the 1970- ohm to year Kazakh director Sultan Khodzhikov removed on the Kazakhfilm similar two-series tape, roles in the film carried out [Meruert] Of [utekesheva] ([Kyz] Of [zhibek]), [Kuman] Of [tastanbekov] ([Tolegen]), [Asanali] Of [ashimov] ([Bekezhan]), [Kenenbay] Of [kozhabekov], [Mukhtar] Of [bakhtygereev], [Anuar] Of [moldabekov], [Farida] Of [sharipova], [Gulfayrus] Of [ismailova]. Film is honored the State Prize to Kazakh SSR in 1972. 　　The love story Of [tolegena] - brave soldier and [Zhibaya] beauty concludes tragically because of the [mezhplemennykh] strifes. [Tolegen], which was struggling for hand and heart Of [zhibek], was treacherously killed [Bekezhanom] ([batyr], rival from the kind Of [zhibek]). [Zhibek] put an end to itself, after learning about death Of [tolegena]. The poem “Of [kyz]-[Zhibek]” is included in world cultural heritage, 2008 were declared UNESCO by the year of the 500- summer anniversary of epos. Anniversary is included in the calendar of the significant dates of UNESCO 2008.

Kyz-Zhibek - Kazakh poetic folk legend of the 16th century, tells about the period in the Kazakh nation when the people suffered from bloody feuds. In those times each province of the Kazakh nation had its own Khan and each tried to supersede the other. The love story of Tolegen, the brave warrior, and the beauty Zhibek ends tragically because of inter-family strife. Tolegen is foully murdered by Bekejan (the batyr, or nobleman, of the rival family), who earlier strived for the hand of Zhibek. Zhibek commits suicide after learning about the death of Tolegen. In 1970 Kazakhfilm made a film based on the legend. 　　In the 1970- ohm to year Kazakh director Sultan Khodzhikov removed on the Kazakhfilm similar two-series tape, roles in the film carried out [Meruert] Of [utekesheva] ([Kyz] Of [zhibek]), [Kuman] Of [tastanbekov] ([Tolegen]), [Asanali] Of [ashimov] ([Bekezhan]), [Kenenbay] Of [kozhabekov], [Mukhtar] Of [bakhtygereev], [Anuar] Of [moldabekov], [Farida] Of [sharipova], [Gulfayrus] Of [ismailova]. Film is honored the State Prize to Kazakh SSR in 1972. 　　The love story Of [tolegena] - brave soldier and [Zhibaya] beauty concludes tragically because of the [mezhplemennykh] strifes. [Tolegen], which was struggling for hand and heart Of [zhibek], was treacherously killed [Bekezhanom] ([batyr], rival from the kind Of [zhibek]). [Zhibek] put an end to itself, after learning about death Of [tolegena]. The poem “Of [kyz]-[Zhibek]” is included in world cultural heritage, 2008 were declared UNESCO by the year of the 500- summer anniversary of epos. Anniversary is included in the calendar of the significant dates of UNESCO 2008.

林音身为骠骑将军林峰之女，因父亲林峰救驾身死而被皇上体恤，却没有生活在皇帝赐下的豪宅中，而是另起炉灶，在集市中居住，每天靠制衣、刺绣维持生计。王尚书的女儿王如霜因在选秀中落选而心生怨怼，将制衣的林音母亲何莲衣当成了发泄口。何莲衣被王如霜虐打，林音为给母亲找回公道，先到衙门告状，结果官官相护，她被打了板子扔了出来。不服气的林音，后又去宫门前告状，结果被王如霜带人绑到尚书府，甚至连林音的身份也险些被尚书千金剥夺。

林音身为骠骑将军林峰之女，因父亲林峰救驾身死而被皇上体恤，却没有生活在皇帝赐下的豪宅中，而是另起炉灶，在集市中居住，每天靠制衣、刺绣维持生计。王尚书的女儿王如霜因在选秀中落选而心生怨怼，将制衣的林音母亲何莲衣当成了发泄口。何莲衣被王如霜虐打，林音为给母亲找回公道，先到衙门告状，结果官官相护，她被打了板子扔了出来。不服气的林音，后又去宫门前告状，结果被王如霜带人绑到尚书府，甚至连林音的身份也险些被尚书千金剥夺。

林音身为骠骑将军林峰之女，因父亲林峰救驾身死而被皇上体恤，却没有生活在皇帝赐下的豪宅中，而是另起炉灶，在集市中居住，每天靠制衣、刺绣维持生计。王尚书的女儿王如霜因在选秀中落选而心生怨怼，将制衣的林音母亲何莲衣当成了发泄口。何莲衣被王如霜虐打，林音为给母亲找回公道，先到衙门告状，结果官官相护，她被打了板子扔了出来。不服气的林音，后又去宫门前告状，结果被王如霜带人绑到尚书府，甚至连林音的身份也险些被尚书千金剥夺。

《人物》以独特视角，新颖理念，关注现当代文明进程中那些显现出智慧光芒、卓越创造力和非凡品格的人们；关注富于奇思异想，敢于超越常规，勇于挑战极限的人们。

《人物》以独特视角，新颖理念，关注现当代文明进程中那些显现出智慧光芒、卓越创造力和非凡品格的人们；关注富于奇思异想，敢于超越常规，勇于挑战极限的人们。

陳界仁的〈凌遲考〉以冷靜而壯烈的方式，控訴台灣長期以來遭受西方各種「殖民」形式的歷程。〈凌遲考〉的影像彷彿集體記憶中的夢的影像，潛藏於觀者的「集體潛意識」，挑戰觀者的回應與記憶。〈凌遲考〉用緩慢而詩意的速度以三個銀幕放映，將歷史和台灣當代社會連結起來。〈凌遲考〉的影像是介於瘋狂、極度痛苦與彷如聖靈充滿的狂喜的曖昧混合。雖然影像來自一幅當初很少人知曉的歷史文件，在「凌遲刑罰」早已被禁止，在人間消失的二十一世紀初，對這樣的凌遲刑罰過程的觀看經驗也彷彿觀看地獄圖像的經驗。而刻意放緩進行的影像由於背負龐雜交叉的歷史與意涵（殖民的、歷史的、影像史的、影像本質的、刑罰的、觀看、暴力美學等等），使觀者不得不進行凝視──凝視歷史，也凝視自己。藝術家希望以獨特的方式，例如緩慢進行的手法與調子，引起觀者的深刻凝視；針對「凌遲」的刑罰形式，重新加以凝視與再現，並將其擴大演繹為一道隱喻，影射全球化意圖下的第一世界霸權之於弱勢者的權力關係。