In 1999, shortly before the accession of China to the World Trade Organization, the People’s Bank of China issued the fifth edition of Renminbi banknotes, which are still in use. For the first time, a single portrait of Mao Zedong is featured on every denomination of Renminbi banknotes. The color tone of the largest denomination bill (100-Yuan) has been changed to a bright pink, in stark contrast to its greyish predecessor. Despite the fact that the 100-Yuan bill is actually pink, the People’s Bank of China officially claimed it was “red” and the bill is jokingly known as the “red grandpa Mao”. Pink is often stereotyped as a “feminine color”, while the male leader’s portrait is supposed to represent a strong masculine character, hence the juxtaposition of “Pink” and the “Leader’s Portrait” on Renminbi banknotes is worthy of further investigation. On the other hand, as digital payment methods gradually replace cash payments, banknotes are becoming “invisible”. Interwoven with contemporary everyday images and historical materials, this essay film contextualizes and discusses the representation of the Mao-portrait on the banknotes and the crisis it is experiencing in the digital age.

In 1999, shortly before the accession of China to the World Trade Organization, the People’s Bank of China issued the fifth edition of Renminbi banknotes, which are still in use. For the first time, a single portrait of Mao Zedong is featured on every denomination of Renminbi banknotes. The color tone of the largest denomination bill (100-Yuan) has been changed to a bright pink, in stark contrast to its greyish predecessor. Despite the fact that the 100-Yuan bill is actually pink, the People’s Bank of China officially claimed it was “red” and the bill is jokingly known as the “red grandpa Mao”. Pink is often stereotyped as a “feminine color”, while the male leader’s portrait is supposed to represent a strong masculine character, hence the juxtaposition of “Pink” and the “Leader’s Portrait” on Renminbi banknotes is worthy of further investigation. On the other hand, as digital payment methods gradually replace cash payments, banknotes are becoming “invisible”. Interwoven with contemporary everyday images and historical materials, this essay film contextualizes and discusses the representation of the Mao-portrait on the banknotes and the crisis it is experiencing in the digital age.

“红毛皇帝”顾东林离过两次婚，独自拉扯着上初中的女儿婷婷。年轻时爱蹦迪的他，如今无聊了只能去公园里蹭别人的音响跳舞。2017年的直播浪潮，将他和舞伴们群魔乱舞的形象推到了公众面前。从此，“尬舞”彻底改变了他的家庭、爱情和生活。

“红毛皇帝”顾东林离过两次婚，独自拉扯着上初中的女儿婷婷。年轻时爱蹦迪的他，如今无聊了只能去公园里蹭别人的音响跳舞。2017年的直播浪潮，将他和舞伴们群魔乱舞的形象推到了公众面前。从此，“尬舞”彻底改变了他的家庭、爱情和生活。

共产党员陈威来到上海与黄汉生共同为战斗购买药品。长根等人救了希望，并去偷日本兵的药。长根等人偷了麻九的钱，到街上买了许多东西。长根收留了希望，众人结拜为兄弟。麻九被日军山本等人抓住，山本让麻九带路烧掉了长根等人的房子。山本给野猫注射了药物，神志不清的野猫带山本烧了长根等人的房子。山本得知希望是新四军领导的孩子后，审讯希望，但希望没有向日军投降。希望与长根等人被日本兵绑在水中。黄汉生、苦莲带人前来营救，但日军早有安排，黄汉生、希望等人英勇就义。

共产党员陈威来到上海与黄汉生共同为战斗购买药品。长根等人救了希望，并去偷日本兵的药。长根等人偷了麻九的钱，到街上买了许多东西。长根收留了希望，众人结拜为兄弟。麻九被日军山本等人抓住，山本让麻九带路烧掉了长根等人的房子。山本给野猫注射了药物，神志不清的野猫带山本烧了长根等人的房子。山本得知希望是新四军领导的孩子后，审讯希望，但希望没有向日军投降。希望与长根等人被日本兵绑在水中。黄汉生、苦莲带人前来营救，但日军早有安排，黄汉生、希望等人英勇就义。

爱情究竟是用无数谎言构筑起来的浪漫，还是必须要有百分百的坦诚才能换来真挚情感呢？Disney+推出的首个原创恋爱真人秀里，一群年轻男女共同住在同一屋檐下生活。每个人要分享5件关于自己的事，不过其中有一件是谎话！那些难以说出口的秘密，会不会成为爱情道路上的绊脚石呢？一场毫无剧本的爱情实验即将开启。

爱情到底是由无数个谎言堆砌而成的浪漫？还是一定要有百分百的坦诚才可以换来真挚的爱情？Disney+首个原创恋爱真人秀，一班年轻男女在同一屋檐下生活，每…

故事发生在北印度腹地的中心，拉杰（玛德胡瑞·迪克西特 Madhuri Dixit 饰）从小到达就看着身边的女性深受家庭暴力之苦，于是，长大之后，她组建了名为“粉红帮”的帮会，致力于保护那些遭受暴力和人身伤害的无辜女性们。拉杰鼓励女性们在面对暴力的时候不要怯懦，而是要拿起武器，勇敢的和施暴者抗争。 　　在对抗暴力的同时，拉杰还必须教会她的朋友们如何靠自己的双手养活自己。随着帮派的壮大，拉杰开始想要开办女子学校，只有掌握了知识的武器，才能从根本上摆脱被压迫的命运，而拉杰要面对的最大阻力，来自于名叫苏米德拉（玖熹·查瓦拉 Juhi Chawla 饰）的女官员。

故事发生在北印度腹地的中心，拉杰（玛德胡瑞·迪克西特 Madhuri Dixit 饰）从小到达就看着身边的女性深受家庭暴力之苦，于是，长大之后，她组建了名为“粉红帮”的帮会，致力于保护那些遭受暴力和人身伤害的无辜女性们。拉杰鼓励女性们在面对暴力的时候不要怯懦，而是要拿起武器，勇敢的和施暴者抗争。 　　在对抗暴力的同时，拉杰还必须教会她的朋友们如何靠自己的双手养活自己。随着帮派的壮大，拉杰开始想要开办女子学校，只有掌握了知识的武器，才能从根本上摆脱被压迫的命运，而拉杰要面对的最大阻力，来自于名叫苏米德拉（玖熹·查瓦拉 Juhi Chawla 饰）的女官员。