凤凰大视野五四人物志之胡适篇。

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

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

香港前卫导演王晶卫穿过时空隧道来到六十年代的粤语片场，大导演楚原告知王一定要拍一部受欢迎的电影才能返回。王结识了当时未成名的难兄难弟李奇和谢源，由于卫的“先知先觉”，使两人一举成名，他们的女友宝珠和芳芳也同时倾心于才华横溢的卫……卫拍摄的《东蛇西鹿》和《春光乍舌》等竟无一人欣赏，卫能回到1997年吗？

王晶卫是个九十年代前卫的香港导演，但十分轻视六十年代的粤语片。没想到他穿越时空回到了六十年代，他被大导演楚原告知，只要能在六十年代里拍一部受欢迎的电影便能回去。王晶卫虽然十分无奈，也认识了还没有成名时的李奇和谢源这对难兄难弟。由于王晶卫的特殊身份，便带领两人一举成名。李奇与谢源的各自的女友宝珠与芳芳都移情别恋钟情于王晶卫，十分倾慕他的才华。李奇与谢源得知情况后，与王晶卫断绝了来往。而王晶卫所拍的电影，完全没有人欣赏，到底他又能否回到属于自己的时空呢？

烂口发、吴准少、交通灯是同事兼私党。吴准少看不上烂口发女朋友那个势利的母亲，在他的生日宴会上捣乱，逼烂口发与女友分手。烂口发失恋后，老板建议他们到槟城旅行，在那里他们结识了美容小姐董董与蚊滋。烂口发冒充富豪，董董冒充千金小姐，两人交往迅速发展，约定回香港后相见。某日，两人相约出席一个舞会，烂口发因看不惯富家公子赵完生对其女友的不当行为，结下仇口。赵却以追求董董以谋报复，他先到美容中心找董董和蚊滋拍广告，同时向她揭发了烂口发是车房仔的真实身份。董董觉得受了烂口发的骗，含泪而去；吴准少苦言相劝，却更加深了误会。这时赵举行舞会，准备对董董另有企图。烂口发等人知道后混进舞会，准备营救董董，结果弄出了连篇笑话，董董也终于了解了烂口发。

烂口发、吴准少、交通灯是同事兼私党。吴准少看不上烂口发女朋友那个势利的母亲，在他的生日宴会上捣乱，逼烂口发与女友分手。烂口发失恋后，老板建议他们到槟城旅行，在那里他们结识了美容小姐董董与蚊滋。烂口发冒充富豪，董董冒充千金小姐，两人交往迅速发展，约定回香港后相见。某日，两人相约出席一个舞会，烂口发因看不惯富家公子赵完生对其女友的不当行为，结下仇口。赵却以追求董董以谋报复，他先到美容中心找董董和蚊滋拍广告，同时向她揭发了烂口发是车房仔的真实身份。董董觉得受了烂口发的骗，含泪而去；吴准少苦言相劝，却更加深了误会。这时赵举行舞会，准备对董董另有企图。烂口发等人知道后混进舞会，准备营救董董，结果弄出了连篇笑话，董董也终于了解了烂口发。

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．