农舍的一角，米奇（沃尔特·迪斯尼 Walt Disney 配音）和他的乐队成员们正在进行热烈、快乐的露天演出，他们别具一格的演出得到了农户们的热烈欢迎。一曲结束，五只鸭子女郎顺序而出，踩着节拍跳起舞蹈；接着公鸡、母鸡又上演了家庭生活暴力剧，也得到不错的反响。第三个出场的是猪小姐，她高亢刺耳的歌声遭到全场嘘声，演唱被迫草草结束。接下来是米奇自弹自唱，伴随着跳跃的钢琴声和俏皮的歌曲，米奇吸引了全场的注意力。表演渐入高潮，米奇还挑起轻快的踢踏舞。他成了全场演出最大的亮点……

农舍的一角，米奇（沃尔特·迪斯尼 Walt Disney 配音）和他的乐队成员们正在进行热烈、快乐的露天演出，他们别具一格的演出得到了农户们的热烈欢迎。一曲结束，五只鸭子女郎顺序而出，踩着节拍跳起舞蹈；接着公鸡、母鸡又上演了家庭生活暴力剧，也得到不错的反响。第三个出场的是猪小姐，她高亢刺耳的歌声遭到全场嘘声，演唱被迫草草结束。接下来是米奇自弹自唱，伴随着跳跃的钢琴声和俏皮的歌曲，米奇吸引了全场的注意力。表演渐入高潮，米奇还挑起轻快的踢踏舞。他成了全场演出最大的亮点……

风和日丽的一天，心情愉悦的唐老鸭（克拉伦斯·纳什 Clarence Nash 配音）正在给爱车粉刷油漆，涂满红色油漆的机壳在阳光下格外漂亮。就在此时，一只不识时务的小鸟破坏了唐老鸭的雅兴，忙于搭窝的她无意中落在汽车的机盖上，偏偏刚刚刷上的油漆还未干透，于是便留下一串扎眼的脚印。这个不速之客令本就脾气火爆的唐老鸭气急败坏，他决心惩治小鸟，而小鸟也不堪示弱，与唐老鸭展开连番周旋。在这一过程中，那台无辜的汽车不断遭殃，最终变得花花绿绿，更如同疯了一样满旷野乱跑。这一切都令唐老鸭愤怒非常……

伸子はアメリカに本社のあるおもちゃ会社のOL。後輩の純子や同僚の丈彦と平凡な毎日を送っていた。ところがある日会社が倒産するという噂が広まり、社員の全体会議ではコンピュータのミスで純子が社長、伸子が副社長、万年係長の北林が専務に抜擢された。伸子と純子のレディース・パワーは経営危機を乗り越えた。その一方では恋のさやあても始まった。伸子は丈彦に慕われつつも、憧れているのはヤング・エグゼクティブの山本で、本社会長の孫娘・波子は丈彦のことが好きだった。しかし、山本の心は冷たかった。巧みに伸子に近づいていたものの実は社長秘書の児玉と会社乗っ取りを企んでいた。ある日デザイナー志望の丈彦にもチャンスがめぐってきた。新商品のデザインを任されたのである。だが、発表会直前に児玉らの陰謀で丈彦の考案した模型は焼却炉で燃やされてしまった。伸子は代わりに自分が描いた北林の似顔絵を発表。結果的にこのキャラクターが受けて、人形は爆発的にヒット。しかし、この人形にも児玉らは金を混入して社会問題化し、伸子、純子、北林に詰め腹を切らせた。山本も伸子だけは味方につけたいとしたが、伸子は丈彦の誠実さに惹かれ、彼の愛を受け入れたのだった。新しい事務所を作ったものの大量の人形を抱えて途方に暮れていた伸子たちだったが、本社の会長が買いとってくれたのだった。

伸子はアメリカに本社のあるおもちゃ会社のOL。後輩の純子や同僚の丈彦と平凡な毎日を送っていた。ところがある日会社が倒産するという噂が広まり、社員の全体会議ではコンピュータのミスで純子が社長、伸子が副社長、万年係長の北林が専務に抜擢された。伸子と純子のレディース・パワーは経営危機を乗り越えた。その一方では恋のさやあても始まった。伸子は丈彦に慕われつつも、憧れているのはヤング・エグゼクティブの山本で、本社会長の孫娘・波子は丈彦のことが好きだった。しかし、山本の心は冷たかった。巧みに伸子に近づいていたものの実は社長秘書の児玉と会社乗っ取りを企んでいた。ある日デザイナー志望の丈彦にもチャンスがめぐってきた。新商品のデザインを任されたのである。だが、発表会直前に児玉らの陰謀で丈彦の考案した模型は焼却炉で燃やされてしまった。伸子は代わりに自分が描いた北林の似顔絵を発表。結果的にこのキャラクターが受けて、人形は爆発的にヒット。しかし、この人形にも児玉らは金を混入して社会問題化し、伸子、純子、北林に詰め腹を切らせた。山本も伸子だけは味方につけたいとしたが、伸子は丈彦の誠実さに惹かれ、彼の愛を受け入れたのだった。新しい事務所を作ったものの大量の人形を抱えて途方に暮れていた伸子たちだったが、本社の会長が買いとってくれたのだった。

《大叔局特工》的首播集，后来被扩展为二小时长度的电影播映，电影增加了次要情节和更多的暴力场面，以和当时的007电影抗衡。

The omnibus story of a boss and his capable female secretary, similar to the story of a woman, and a story of an agent fantasizing of falling in love with a good secretary.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.